DECEMBER,  1902 


LUINI 


PRICE,  15  CENTS 


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LUINI 


PART  36--  VOLUME  3 


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THE 


Mascagni 


1 he  J 1 . Wamehnk&  Sons  Piano  Co.,  Cleveland 
Junius  Hart  Piano  House,  New  Orleans 
F.  J.  Schwankousky,  Detroit 
„ the  WILCOX  A WHITE  CO., 
Main  Offices  & Factory.  Mrridbn,  Conn..  U.S.A. 


THE 


MUSICIANS  LIBRARY 


FOR  XMAS  AND  ALL  THE  YEAR 


FIFTY  MASTERSONGS 

Edited  by  HENRY  T.  FINCK 
Issued  in  Two  Editions.  For  High  Voice.  For  Low  Voice 
Bound  in  paper,  each,  $1.50;  cloth,  gilt  top,  each,  $2.50 

THE  fifty  best  songs  of  the  world’s  twenty  greatest  song 
composers,  arranged  in  chronologic  order  from  Mozart 
to  MacDowell ; portraits  and  an  elaborate  introduction  by 
the  editor. 


FREDERIC  CHOPIN 

FORTY  PIANO  COMPOSITIONS 
Edited  by  JAMES  HUNEKER 
Bound  in  paper,  $1.50;  cloth,  gilt  top,  $2.50 

CONTAINS  a portrait  of  Chopin,  an  elaborate  essay 
by  the  editor,  and  the  composer’s  forty  most  beautiful 
numbers.  Mr.  Huneker  is  the  recognized  authority  on 
Chopin,  and  the  volume  is  the  most  satisfying  ever  issued. 


THE  MUSICIANS  LIBRARY  is  the  most  important  series  of  independent  volumes  of  the 
masterpieces  of  song  and  piano  music  ever  issued. 

Send  for  booklet  giving  full  details  and  list  of  volumes  preparing. 

OLIVER  DITSON  COMPANY,  BOSTON,  MASS. 

CHAS.  H.  DITSON  & CO.,  New  York  (a7ii)  J.  E.  DITSON  & CO.,  Philadelphia 


Illustrated  Book  Given  to  Inquirers 

Sold  by  The  Oliver  Ditson  Co..  Boston 

John  Wanamaker.  New  York  and  Philadelphia 

Juelfr  & Co  . Baltimore  and  Washington 

0.  Hamilton,  Pittsburg 

Geo.  P.  Bent,  Chicago 

The  Estey  C'o.,  St.  Louis 

Sherman.  Clay  & Co.,  San  Francisco 

The  VVCG.  Woodmansee  Piano  Co.,  Cincinnati 


Testimonial  from  the  celebrated  composer  of 

**  Cavalleria  Rusticana,"  “Amico  Fritz,” 

**  Iris,”  etc.  1 

“ The  Angelus  is  a wonderful  virtuoso-pianist,  and  at 
the  same  time  an  excellent  organist. 

41  Thanks  to  its  marvellous  means  of  expression,  it 
can  give  the  complicated  pieces  more  lift  and  itul  than 
any  other  instrument  of  its  kind  is  able  to  give. 

“ Bravo  to  the  inventors.’’ 


(Signed)  Pietro  Mascagni. 


MASTERS  IN  ART 

A SERIES  OF  ILLUSTRATED 
MONOGRAPHS:  ISSUED  MONTHLY 


PART  36  DECEMBER,  1902  VOLUME  3 


Umtaituno  f&tttnt 


CONTENTS 


Plate  I. 
Plate  II. 
Plate  III. 
Plate  IV. 
Plate  V. 
Plate  VI. 
Plate  VII. 
Plate  VIII. 
Plate  IX. 
Plate  X. 


The  Madonna  of  the  Rose-hedge  Brera  Gallery:  Milan 

Portrait  of  a Lady  Collection  of  R.  H.  Benson,  Esq:  London 

The  Holy  Family  The  Prado:  Madrid 

St.  Catherine  and  Two  Angels  Hermitage  Gallery:  St.  Petersburg 

The  Crucifixion  [Detail]  Church  of  Santa  Maria  degli  Angeli:  Lugano 
The  Daughter  of  Herodias  Imperial  Gallery:  Vienna 

La  Columbina  Hermitage  Gallery:  St.  Petersburg 

Adoration  of  the  Magi  II  Santuario  della  Vergine:  Saronno 

Madonna  and  Child  Layard  Collection:  Venice 

The  Burial  of  St.  Catherine  Brera  Gallery:  Milan 


Portrait  of  Luini  by  Himself:  II  Santuario  della  Vergine,  Saronno  Pace  20 

The  Life  of  Luini  Page  21 

The  Art  of  Luini  Pace  25 

Criticisms  by  Lafenestre,  Rio,  Encyclopedia  Britannica,  Williamson,  Ruskin,  Kugler 
The  Works  of  Luini:  Descriptions  of  the  Plates  and  a List  of  Paintings  Page  33 

Luini  Bibliography  Page  40 

Photoengravings  by  Folsom  Sunergren  : Boston.  Press-work  by  the  Everett  Press  : Boston. 


iWastcrs  in  &rt  as  a Cijristmas  Gift 

C.It  would  be  hard  to  select  any  Christmas  Gift  of  moderate  cost  which  should  appeal  more 
strongly  to  an  art-loving  person  than  a subscription  to  ‘ Masters  in  Art  ’ for  1903.  Every  month 
throughout  the  year  the  recipient  will  receive  a little  monograph,  complete  in  itself,  illustrating  the 
work  of  one  of  the  most  charming  of  the  old  or  modern  masters  of  painting.  The  exceptionally  at- 
tractive programme  for  the  1903  Volume  is  printed  on  the  following  page. 

C.The  Publishers  will  arrange  to  mail  the  first  (January)  number  of  such  a Gift  Subscription  in  ad- 
vance of  the  regular  edition,  so  timed  that  it  shall  reach  the  recipient  on  Christmas  Day;  and,  if 
desired,  will  forward  with  it  the  donor’s  card,  thus  relieving  him  of  all  further  trouble.  Send  us  — as 
long  before  the  holidays  as  you  can  — $1.50,  your  card,  the  name  and  address  of  the  person  to 
whom  you  wish  ‘ Masters  in  Art’  sent,  mention  the  fact  that  it  is  a Christmas  Gift  subscription, 
and  we  will  see  to  the  rest. 


BATES  & GUILD  COMPANY,  PUBLISHERS 
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Entered  at  the  Boston  Post- office  as  Second-class  Mail  Matter.  Copyright , 1QQ2,  by  Bates  & Guild  Company y Boston. 


12*02 


MASTERS  IN  ART 


‘MASTERS  IN  ART’  FOR  1903 


‘1V/TASTERS IN  ART’  FOR  1903  WILL> 

1V1  IT  IS  BELIEVED,  PROVE  EVEN 
MORE  ATTRACTIVE  THAN  ANY  PRE- 
VIOUS VOLUME,  POSSIBLY  FOR  THE 
REASON  THAT  THE  PROGRAMME 
INCLUDES  A LARGER  PROPORTION 
THAN  USUAL  OF  COMPARATIVELY 
MODERN  PAINTERS,  WHOSE  WORK, 
IF  LESS  HISTORICALLY  IMPORTANT 
THAN  THAT  OF  SOME  OF  THE 
OLDER  MASTERS,  HAS,  ON  THE  OTHER 
HAND,  PERHAPS  MORE  APPEAL 
FOR  CONTEMPORARY  EYES. 

♦ 

C,THE  OLDER  MASTERS 

are,  however,  by  no  means  to  be  neglected. 
Among  those  to  be  represented  may  be  named : 

^GIORGIONE 

Titian's  contemporary,  and  hardly  his  inferior, 
who,  leading  the  way  from  the  dreamland  of 
religious  imagination,  crowned  Venetian  art 
with  the  sense  of  real  life  and  the  purely 
pictorial  beauty  of  human  grace. 

C,THE  FRESCOS  OF  RAPHAEL 

The  consideration  of  Raphael,  one  side  of  whose 
achievement  was  illustrated  by  his  easel  pic- 
tures shown  in  a previous  volume,  will  be  com- 
pleted by  a number  devoted  to  his  frescos,  which 
many  critics  deem  his  greatest  works. 

C.  FRA  ANGELICO 

the  Florentine  painter-friar  who  won  his  title 
of  “the  angelic"  through  the  mystic  charm  and 
flower-like  grace  and  spirituality  of  his  saints 
and  angels. 

C.OF  THE  COMPARATIVELY 

modern  painters  to  be  represented  during  IQOJ 
may  be  named: 

C.ROMNEY 

one  of  the  three  great  English  portraitists,  who 
divided  the  admiration  of  the  art  world  with 
Sir  Joshua  Reynolds , and  whose  portraits  of 
women  are  unsurpassed  in  grace,  distinction, 
and  sweetness. 


C,  ROSSETTI 

virtual  founder  of  the  English  pre-Raphaelite 
school,  but  who  left  it  to  seek  his  individual 
goal,  — the  resurrection  through  art  of  the  for- 
gotten world  of  old  romance. 

C. ROSA  BONHEUR 

the  French  woman  painter,  who  surpassed  all 
other  animal  painters  in  the  rendering  of 
spirited  action. 

C.PUVIS  DE  CHAVANNES 

the  greatest  mural  painter  of  modern  times, 
who  died  but  four  years  ago. 

C.THESE  SEVEN 

may  be  named  out  of  the  twelve  painters  who 
will  constitute  the  subjects  for  the  New  Volume. 
The  remaining  names,  which  will  be  no  less 
interesting,  are  to  be  announced  later. 

C. IN  GENERAL 

‘ Masters  in  Art'  will  continue  on  the  same  lines 
and  will  contain  all  the  features  of  previous 
years  \ ; and  no  pains  will  be  spared  to  maintain 
the  same  high  standard  in  illustrations  and  text. 

AS  A CHRISTMAS  GIFT  THE  NEW 
VOLUME  WILL  BE  ESPECIALLY 
APPROPRIATE.  HUNDREDS  OF  SUB- 
SCRIPTIONS TO  ‘MASTERS  IN  ART’ 
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AND  THE  PUBLISHERS' WILL  ARRANGE 
TO  SEND  THE  F I R S T ( J A N U A R Y) 
NUMBER  OF  SUCH  CHRISTMAS-GI FT 
SUBSCRIPTIONS  OF  THE  1903  VOLUME 
IN  ADVANCE,  SO  THAT  IT  SHALL 
REACH  THE  RECIPIENT  ON  CHRIST- 
MAS DAY.  SUBSCRIPTIONS  INTENDED 
FOR  THIS  USE  SHOULD,  HOWEVER, 
BE  SENT  IN  AS  FAR  IN  ADVANCE  AS 
POSSIBLE, THAT  SPECIAL  ATTENTION 
MAY  BE  GIVEN  THEM  BEFORE  THE 
HOLIDAY  PRESS  OF  ORDERS. 


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By  Gen.  LEW.  WALLACE, 
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GLASS 

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The  story  of  the  plans  and  ambitions  of  two  young  peo- 
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MASTERS  IN  ART 


MASTERS  IN  MUSIC 

ANNOUNCEMENT 


The  publishers  of  ‘masters  in  art’  take  pleasure 

IN  ANNOUNCING  THAT  THEY  ARE  ABOUT  TO  ISSUE  A 
COMPANION  MAGAZINE,  PLANNED  ALONG  THE  SAME  LINES, 
WHICH  WILL  TREAT  OF  THE  GREAT  MUSICIANS  OF  THE 
WORLD  AS  ‘MASTERS  IN  ART’  TREATS  OF  ITS  PAINTERS. 
IT  IS  THEIR  HOPE  TO  BE  ABLE  TO  NUMBER  MANY  OF  THE 
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CONSIDERATION  OF  THE  PROSPECTUS  WHICH  FOLLOWS. 


MASTERS  IN  ART 


■ASTERS  IN  MUSIC  will  consist  of  a series  of  Mono- 
graphs, issued  in  the  form  of  a monthly  magazine.  It  will  be 
under  the  editorship  of  Mr.  Daniel  Gregory  Mason.  Each 
number,  complete  in  itself,  will  present  a comprehensive  sum- 
mary of  the  life  and  achievement  of  one  of  the  great  musicians 
of  the  world ; narrating  his  life,  giving  a critical  estimate  of  his  genius,  and 
illustrating  his  work  by  typical  examples  of  his  compositions  arranged  for 
the  piano.  The  features  of  the  magazine  will  be  as  follows: 

SELECTIONS  OF  MUSIC 

Each  issue  will  contain  thirty-two  pages  of  music,  chosen  from  the  compo- 
sitions of  the  Master  who  forms  the  subject  of  the  number;  those  compositions 
being  selected  which  are  most  beautiful,  and  which,  in  the  opinion  of  compe- 
tent judges,  best  manifest  the  Master’s  genius. 

In  making  these  selections  the  editor  will  aim  to  show  the  Master  at  his  height, 
and  at  the  same  time  to  exemplify  the  various  phases  of  his  work.  The  compo- 
sitions chosen  will  not  be  fragmentary,  but  each  will  consist  of  a complete  work 
or  movement.  They  will  be  arranged  for  the  piano,  or  piano  and  voice,  as  the  case 
may  be,  and  will  be  as  easy  of  execution  as  is  consistent  with  proper  richness  of 
effect.  Each  will  be  accompanied  by  an  editorial  note,  suggesting  the  method  of 
playing,  the  effect  to  be  sought,  and  the  like. 

LIFE  OF  THE  MUSICIAN 

The  text  portion  of  the  magazine  will  begin  with  a life  of  the  Musician, — 
a brief,  trustworthy,  and  interesting  biography,  compiled  from  the  latest  re- 
searches, and  aiming  to  shed  the  utmost  light  on  the  work  of  the  artist  con- 
cerned. 

QUOTATIONS  FROM  THE  WORLD  S 
BEST  CRITICS 

The  greater  portion  of  the  text  of  each  magazine  will  consist  of  carefully 
chosen  quotations,  drawn  from  what  the  most  eminent  musical  critics  have 
written  of  the  composer  who  forms  its  subject.  These  collected  quotations  will 
bring  to  the  reader  of  ‘ Masters  in  Music  ’ the  fruit  of  the  world’s  best  judgment, 
which  could  not  otherwise  be  obtained  without  laborious  and  wide  research. 
No  one  writer,  however  versatile,  is  a fair  critic  in  all  cases ; but  here  will  be 
found  the  pith  of  what  has  been  said  of  the  musician  by  writers  of  every  shade  of 
opinion.  The  criticisms  will  be  given  in  the  words  of  the  critics  themselves,  trans- 
lated into  English  when  necessary. 

A PORTRAIT  OF  THE  MUSICIAN 

A portrait  of  the  Musician  considered  will  be  given  whenever  one  of  authen- 
tic value  is  obtainable. 

This  portrait  will  be  a reproduction  of  the  best  existing  likeness  of  the  Master, 
photographically  engraved,  and  carefully  printed  in  sepia  ink  on  a separate  leaf, 
that  it  may  be  detached  for  framing  or  mounting  if  desired. 

BIBLIOGRAPHY  AND  LIST  OF  WORKS 

To  add  to  the  value  of  the  magazine  as  a permanent  reference-book,  a Bib- 
liography, containing  the  names  of  the  more  important  books  and  magazine 


MASTERS  I N ART 


articles  referring  to  its  subject,  and  a classified  list  of  the  composer’s  chief 
works,  will  be  included  in  each  issue. 

ORDER  OF  PRESENTATION 

That  the  magazine  may  be  brought  to  the  greatest  value  for  the  purposes  of 
reference  and  study  in  the  shortest  time,  the  twelve  numbers  of  the  first  year 
will  be  devoted  to  twelve  musicians  who  are  typically  representative  in  their 
attainments. 

Among  those  to  be  presented  during  the  first  year  may  be  named  Mozart, 
Chopin,  Gounod,  Handel,  Verdi,  Raff,  Grieg,  Beethoven  (to  whom  two  succes- 
sive numbers  will  be  devoted),  and  Mendelssohn.  The  first  issue  of  the  magazine, 
dated  January,  1903,  will  have  Mozart  for  its  subject. 

SCOPE  AND  VALUE  OF  THE  MAGAZINE 

It  will  be  seen  that  to  the  musician  and  the  lover  of  music  the  magazine  will 
bring  yearly  three  hundred  and  eighty-four  pages  of  music,  comprising  the  most 
representative  masterpieces.  To  the  student  it  will  furnish  an  attractive  monthly 
lesson,  providing  him  with  a consensus  of  the  world’s  best  critical  judgment 
upon  the  Master  considered. 

The  collected  numbers  of  any  year  will  form  a Musical  Encyclopaedia,  which, 
because  of  the  plan  of  publication,  will  exceed  in  amount  of  music  and  complete- 
ness of  text  value  any  which  could  be  issued  after  a different  fashion.  In  other 
words,  the  magazine  will  become  a Library  of  Music. 

QUALITY  OF  THE  MAGAZINE 

‘Masters  in  Music’  will  measure  eleven  and  one-quarter  by  eight  inches. 
It  will  be  enclosed  in  substantial  paper  covers  of  attractive  design,  and  bound 
by  sewing,  so  that  it  may  lay  flat  on  the  piano-rack.  All  the  music  will  be  en- 
graved expressly  for  it  in  the  most  legible  and  attractive  style;  the  letterpress 
will  be  printed  from  type  expressly  cast  in  Scotland  for  this  use,  the  paper  will 
be  of  good  quality,  and  in  every  detail  the  workmanship  will  be  excellent. 
Attractive  bindings,  in  two  styles,  will  be  prepared  for  the  convenience  of  sub- 
scribers. The  magazine  will  be  mailed  flat. 

TIME  OF  APPEARANCE,  ETC. 

‘Masters  in  Music’  will  be  issued  on  the  first  day  of  every  month,  begin- 
ning with  January  first,  1903. 

As  indexes  and  bindings,  etc.,  will  be  prepared  for  complete  yearly  volumes,  sub- 
scribers are  advised  to  date  their  subscriptions  from  January,  1903,  and  thus  secure 
the  magazine  complete  from  the  beginning. 

SUBSCRIPTIONS,  ETC. 

Price  by  subscription,  $2.00  a year,  in  advance.  Postage  paid  in  the  United 
States  and  Canada.  Single  copies,  20  cents  each. 

Money  may  be  forwarded  by  post-office  money-order,  bank  cheque,  or  in  stamps. 
Currency  sent  by  mail  usually  comes  safely,  but  should  be  securely  wrapped. 

BATES  & GUILD  COMPANY,  PUBLISHERS 

42  CHAUNCY  STREET,  BOSTON,  MASS. 

MASTERS  IN  ART 


GRUEBY  TILES 


GRUEBY  FAIENCE  COMPANY 
KAND  FIRST  ST’S  BOSTON 


BIGEIDW  KENNARD 
AND  CO. 


Pearl  .j  Brooches 

Necklaces,  and 

Rings,  ' Pendants. 

5M  • WASHINGTON  • ST* 


SSerttArtiino  Cuini 


M A STEMS  IN  AKT  PLATE  I 

PHOTOGRAPH  BV  ANOERSON 


LUINI 

THE  MADONNA  OF  THE  HOSE-HEDGE 
HKKKA  GALLERY,  MILAN 


MASTERS  IN  ART  PLATE  II 

CLEMENT  A CIE 


LUINI 

PORTRAIT  OF  A LADY 

COLL Ef 71*10 X OF  R.  H.  R EXSOX,  ESQ.,  LONDON 


PMOTOCI 


MASTERS  IN  ART  PLATE  III 

* BY  BRAUN,  CLEMENT  4 ClE 


RHOTOGftAR* 


LUINI 

THE  HOLY  FAMILY 
THE  PRADO,  MADRID 


MASTKHS  IX  AMT  PLATE  IV 


BMOTOGRAf*  BY  ISAyh,  CL  € WENT 


LUINI 

ST.  CATHEMLNE  AND  TWO  ANGELS 
HERMITAGE  (JALLEBY,  ST.  PETEKSHrRG 


MASTERS  IN  AHT  PLATE  VI 

PHOTOGRAPH  by  HANTS! AENOL 


LUINI 

THE  DAUGHTER  OF  HEROD! AS 
IMPERIAL  GALLERY,  VIENNA 


MASTKHS  IN  AMT  PLATE  VII 

PHOTOGRAVURE  BY  The  BERLIN  PHOTOGRAPHIC  CO. 


IjUTNT 

* LA  COIiUMBIXA’ 

HEHMITAGK  (iALLERT,  ST.  PETERSRl'  Kf» 


MASTERS  IN  ART  PLATK  VIII 

PHOTOGRAPH  BY  ANDERSON 


LUTNI 

ADORATION  OF  THE  MAGI 
ID  SANTUARIO  DELLA  VERGINE,  8ARONKO 


MASTERS  IN  ART  PLATE  IX 


fMOTOGRA** 


LUINI 

MADONNA  AND  CHILD 
LA  YARD  COLLECTION,  VENICE 


POKTKA1T  OK  LUINI  HV  1MSISKLK 
It,  SAXTUAHIO  DELLA  VKRGIXE,  SAKOXXO 
Following  a fashion  of  his  day,  Luini  is  said  to  have  introduced  his  own  portrait  into 
several  of  his  compositions.  It  is  found  in  his  picture  of  ‘ The  Nativity  ’ at  Como, 
in  the  Lugano  ‘ Crucifixion,’  where  tradition  points  to  the  centurion  on  horseback  as  a 
likeness  of  the  artist,  and,  again,  in  the  fresco  at  Saronno  of  ‘ Christ  Disputing  with 
the  Doctors,’  from  which  the  portrait  here  reproduced  is  taken,  and  where  he  ap- 
pears in  one  corner  of  the  picture  in  the  guise  of  a rabbi  — a venerable  old  man  with 
long  white  beard,  who  turns  his  kindly  face  towards  the  spectator. 


MASTERS  IN  ART 


Hmtarfctuo  Uttiut 


BORN  14  — ? DIED  15  — ? 
LOMBARD  SCHOOL 


BERNARDINO  LUINI  (pronounced  Loo  ee'nee),  “the  Raphael  of 
Lombardy,”  as  he  has  been  called,  was  one  of  the  most  charming  as 
well  as  one  of  the  most  prolific  of  North  Italian  artists;  and  yet  of  the  life 
of  no  other  equally  eminent  painter  of  the  period  is  so  little  definite  known. 
It  is  generally  accepted  that  he  was  born  between  1465  and  1475  at  Luino, 
a sunny  little  town  picturesquely  situated  among  somber  chestnut-trees  and 
gray  olive  groves  on  the  shore  of  Lake  Maggiore.  From  Luino,  in  accord- 
ance with  a custom  of  the  times,  he  took  his  name;  and  to  this  day  an  old 
house,  reached  by  a steep  path  winding  up  from  the  lake,  is  pointed  out  to 
the  traveler  as  the  birthplace  of  the  painter,  for  whom  the  neighboring  street 
is  named,  and  whom  the  inhabitants  of  the  place  confidently  claim  as  a 
native  of  their  town. 

It  has  been  stated  that  Luini  was  the  son  of  one  Giovanni  Lutero  of  Luino; 
that  he  had  a brother,  Ambrogio,  who  was  a painter,  and  two  sons,  Aurelio 
and  Evangelista,  who  adopted  their  father’s  profession  and  assisted  him  in 
some  of  his  works.  We  are  further  told  that  he  went  to  Milan  in  or  soon 
after  the  year  1500;  and  from  the  dates  that  he  himself  has  placed  on  four 
of  his  great  frescos,  still  in  the  churches  for  which  they  were  originally 
painted,  we  have  definite  assurance  of  the  scenes  of  his  labors  at  certain 
periods  of  his  career. 

That  all  details  of  the  life  of  a painter  so  famous  as  Luini  undoubtedly  was 
in  his  own  day  should  be  veiled  in  obscurity  is  due,  in  great  measure,  to  the 
fact  that  for  some  unexplained  reason  Vasari,  the  biographer  of  so  many  of 
the  old  Italian  artists,  and  the  chief  authority  for  all  particulars  that  have 
been  handed  down  to  us  of  their  lives,  bestows  only  passing  mention  upon 
him,  and  not  only  furnishes  us  with  no  important  biographical  information 
concerning  him,  but,  curiously  enough,  even  misspells  his  name.  “Bernar- 
dino del  Lupino,”  he  writes, “was  an  exceedingly  delicate  and  pleasing  painter, 
as  may  be  seen  by  many  works  of  his,  a number  of  which  are  still  in  the  city 
of  Milan.  At  Saronno,  a place  about  twelve  miles  from  there,  is  a ‘Marriage 
of  Our  Lady’  by  this  master,  which  is  admirably  executed,  as  are  also  cer- 


22 


4&  a $ 1 1 1 0 in  31  r t 

tain  of  his  pictures  in  the  Church  of  Santa  Maria,  which  are  most  perfectly 
painted  in  fresco.  Bernardino  worked  extremely  well  in  oil  also.  He  was  a 
most  obliging  person,  friendly  and  liberal  in  all  his  actions.  To  him,  there- 
fore, is  deservedly  due  all  the  praise  which  belongs  by  right  to  those  artists 
who  do  themselves  no  less  honor  by  the  courtesy  of  their  manners  and  the 
excellence  of  their  lives  than  by  the  distinction  to  which  they  attain  in  their 
art.”  Again,  in  speaking  of  some  of  Luini’s  frescos,  he  says:  “The  figures 
are  good  and  beautiful  and  the  work  is  carefully  executed  and  very  delicately 
finished.”  But  that  is  all  that  Vasari,  usually  so  loquacious,  tells  us  of  Luini; 
nor  do  other  early  writers  add  materially  to  our  knowledge  of  his  life.  Lo- 
mazzo,  a contemporary  of  the  painter,  says  that  in  the  year  1500  he  was 
already  a distinguished  artist,  and  also  speaks  in  praise  of  him  as  a poet;  but 
no  verses  by  him  have  been  found,  nor  is  there  any  trace  of  the  treatise  on 
painting  of  which  another  writer,  Morigia,  tells  us  that  he  was  the  author. 

In  regard  to  his  works  a similar  ignorance  has  until  recently  prevailed. 
This  is  perhaps  to  be  accounted  for  by  the  fact  that  his  greatest  achievements 
— his  frescos — were  located  in  small  and  insignificant  places,  such  as  Sa- 
ronno,  Como,  Legnano,  and  Lugano, — towns  seldom  visited  by  travelers 
until  comparatively  recent  times, — and  also  because  his  easel-pictures,  scat- 
tered throughout  the  principal  galleries  of  Europe,  bore  such  similarity  to  the 
work  of  the  great  Leonardo  da  Vinci,  by  whom  Luini  at  one  period  of  his 
career  was  strongly  influenced,  that  they  were  frequently  attributed  to  the 
Florentine  master.  As  a consequence,  Luini  was  for  long  ignored  or  for- 
gotten. Of  late  years,  however,  the  researches  of  Kugler,  Morelli,  Crowe 
and  Cavalcaselle,  Brun,  and  others,  to  say  nothing  of  the  eloquent  words  of 
Mr.  Ruskin,  have  re-established  Luini’s  fame  and  accorded  him  the  position 
in  the  history  of  art  that  the  singular  tenderness  and  beauty  of  his  many 
frescos  and  oil-paintings  entitle  him  to  hold. 

According  to  the  writings  of  his  contemporary  Father  Sebastian  Resta, 
who  states  that  he  knew  him  personally,  Luini  was  a pupil  of  Stefano  Scotto, 
a Milanese  painter,  of  whom  little  is  discoverable.  In  Luini’s  early  work, 
however,  the  influence  of  Foppa,  the  so-called  founder  of  the  Lombard 
school,  may  be  traced  in  the  sturdily  built  figures  of  his  first  frescos,  while 
in  the  architectural  backgrounds  and  the  use  of  gold  ornamentation,  the  in- 
fluences of  Borgognone  and  Bramantino  are  clearly  discernible. 

A ‘Pieta’  in  the  Church  of  Santa  Maria  della  Passione,  Milan,  has  long 
been  held  to  be  Luini’s  earliest  known  work,  but  recent  critics  now  regard 
it  as  by  some  unknown  painter  of  the  Lombard  school.  In  the  Church  of 
San  Pietro,  near  Luino,  however,  there  is  an  ‘Adoration  of  the  Magi,’  and  in 
that  of  San  Giorgio  al  Palazzo,  Milan,  are  five  frescos,  representing  scenes 
from  the  life  of  Christ,  which  are  evidently  immature  achievements;  and  the 
Brera  Gallery,  Milan,  now  contains  many  of  the  frescos  originally  in  the  Casa 
Pelucca,  near  Monza,  which  represent  the  most  important  works  of  his  early 
period. 

In  connection  with  Luini’s  work  in  the  Casa  Pelucca,  there  is  a story, 
albeit  unauthenticated,  which  relates  that  when  the  painter  was  putting  the 


25ernartiino  % u i n i 


23 


final  touches  to  his  frescos  in  the  Church  of  San  Giorgio  al  Palazzo  in 
Milan,  he  received  a visit  from  the  parish  priest,  who,  interested  in  the  prog- 
ress of  the  paintings,  and  wishing  to  see  them  close  to,  mounted  upon  the 
scaffolding  where  Luini  was  working,  and  missing  his  footing,  or,  as  some 
say,  in  consequence  of  a movement  on  the  part  of  the  painter,  impatient  per- 
haps of  some  ignorant  criticism,  fell  over  backwards  and  was  instantly  killed. 
The  excitement  and  indignation  which  this  event  occasioned  were  so  great, 
and  so  severely  was  Luini  censured,  that,  in  fear  of  his  life,  he  fled  to  Monza, 
and  sought  refuge  in  the  house  of  a prominent  citizen  of  that  place,  the  head 
of  the  Pelucca  family.  For  two  years  he  remained  in  the  Casa  Pelucca,  the 
home  of  his  patron  and  protector,  decorating  its  walls  with  a series  of  lovely 
frescos  of  subjects  taken  from  the  Old  Testament,  from  sacred  legends,  and 
from  mythology.  Meantime  he  lost  his  heart  to  Laura,  the  beautiful  daughter 
of  the  house,  who  looked  with  more  favor  upon  the  painter  than  upon  her 
numerous  more  eligible  suitors.  Two  of  these,  however,  Amarotto  de’  Ga- 
vanti  and  Federigo  Rabbia,  the  latter  Luini’s  friend,  agreed  to  engage  in  a 
tournament,  the  victor  of  which,  it  was  arranged,  should  be  entitled  to  aspire 
to  the  fair  Laura’s  hand.  Fate  decided  in  favor  of  Rabbia;  but  before  he  had 
addressed  the  lady  his  disappointed  and  treacherous  rival  attacked  him  one 
night  and  murdered  him,  and  Luini,  who  was  with  Rabbia  at  the  time,  barely 
escaped  with  his  life.  No  persuasion  could  induce  Laura  Pelucca  to  look 
with  favor  upon  the  murderer;  and  as  she  still  persisted  in  her  preference  for 
the  painter  she  was  sent  by  her  parents  to  a convent  in  Lugano,  where,  many 
years  later,  she  was  found  by  Luini  when  he  was  at  work  on  his  famous 
‘Crucifixion’  in  the  church  of  that  town.  To  this  day  the  people  of  Monza 
point  to  a spot  named  “Torneamento,”  where  they  say  the  tournament  be- 
tween Laura  Pelucca’s  suitors  took  place,  and  to  another  named  “Criminale,” 
so  called  from  the  crime  committed  there. 

The  Casa  Pelucca,  near  the  town  of  Monza,  is  now  a farm-house,  de- 
spoiled since  1817  of  its  frescos,  many  of  which,  as  has  been  said,  are  now 
in  the  Brera  Gallery,  Milan.  One  of  the  finest  of  them  is  the  ‘Burial  of  St. 
Catherine,’  in  which,  according  to  tradition,  Luini  reproduced  in  the  face  of 
the  young  saint  the  fair  features  of  Laura  Pelucca. 

Luini  is  said  to  have  removed  to  Milan  in  1500,  one  year  after  Leonardo 
da  Vinci  had  left  that  city  and  retired  to  his  villa  at  Vaprio.  It  would  seem, 
therefore,  that  Luini  could  not  have  been,  as  has  frequently  been  stated,  a 
direct  pupil  of  the  great  Florentine;  indeed,  he  probably  never  even  saw  the 
master;  but  there  is  no  doubt  that  he  was  strongly  affected  by  Da  Vinci’s 
powerful  influence.  “Milan,  when  Luini  reached  it,”  writes  Dr.  William- 
son, “was  full  of  Leonardo’s  fame.  The  skill  of  the  great  artist  was  freely 
praised,  and  painters  from  all  parts  of  Lombardy  and  Umbria  were  work- 
ing in  Milan,  eagerly  copying  Leonardo’s  productions,  adopting  his  ideas  in 
coloring,  composition,  and  expression,  and  following  his  lead  with  deter- 
mination and  with  skill.  To  paint  in  Milan  during  the  period  that  followed 
1498  was  to  paint  in  Leonardo’s  manner.  It  was  practically  impossible  for 
a Milanese  painter  to  emancipate  his  ideas  from  the  Leonardo  influence,  or 


24 


01  a 0 t c r 0 in  art 

to  escape  from  the  Leonardo  style  of  face  and  expression.”  No  one  felt  more 
deeply  than  Luini  the  subtle  magic  of  this  fascination ; and  although  no  single 
picture  of  his  can  be  said  to  be  an  imitation  of  any  one  of  Leonardo’s,  all 
his  works  belonging  to  this  period  are  more  or  less  reminiscent  of  Da  Vinci. 

To  this,  his  second  period,  his  maniere  grigia  Morelli  terms  it,  belong 
many  of  his  loveliest  easel-pictures,  as  well  as  many  fragments  of  frescos 
which,  originally  in  the  different  churches  of  Milan,  have  now  been  removed 
to  the  Brera  Gallery  in  that  city.  One  of  the  greatest  achievements  of  this 
time,  however,  a fresco  representing  ‘The  Crowning  with  Thorns,’  is  still 
in  its  original  place  in  the  Hall  of  the  Confraternity  of  the  Holy  Crown,  now 
a part  of  the  Ambrosian  Library,  Milan.  The  artist  is  said  to  have  received 
for  this  work  a paltry  sum  equivalent  to  about  sixty  dollars.  Indeed  all  records 
show  that  the  payments  made  to  Luini  were  ridiculously  small;  but  he  seems 
to  have  been  content,  and  would  assuredly  never  have  replied  to  a patron  as 
Leonardo  once  haughtily  observed  when  proffered  payment  in  coppers  for 
some  work:  “I  am  not  one  of  your  farthing  painters!” 

Luini’s  fame  was  now  rapidly  increasing,  and  commissions  seem  to  have 
poured  in  upon  him  from  all  the  neighboring  towns  of  Lombardy.  From 
1 520  to  1533  he  was  at  the  height  of  his  power,  appearing,  as  Morelli  says, 
“in  the  fullness  and  freedom  of  his  independence;”  and  to  this  third  and  last 
period  belong  his  greatest  works,  both  in  fresco  and  in  oil-paintings. 

We  hear  of  him  at  Legnano  in  1523,  at  work  on  a great  altar-piece  in 
seven  divisions,  representing  the  Madonna  and  saints,  which  still  hangs  in 
the  church  for  which  it  was  painted.  In  1 525,  as  is  proved  by  the  date  affixed 
to  one  of  them,  he  painted  a series  of  frescos  in  the  pilgrimage  church,  II  San- 
tuario  della  Vergine,  in  the  small  town  of  Saronno,  between  Milan  and  Como. 
The  story  goes  that  Luini  had  fled  from  Milan  because,  under  circumstances 
that  are  unknown  to  us,  he  had  killed  a man  in  self-defense;  and,  seeking 
refuge  in  the  pilgrimage  church  of  Saronno,  was  compelled  by  the  monks  to 
paint  a number  of  frescos  there  in  return  for  the  protection  afforded  him. 
The  sum  of  thirty  soldi,  or  about  thirty  cents  a day,  was  allotted  to  the  artist, 
together  with  a daily  portion  of  food  and  wine;  and  so  well  satisfied  was  he 
with  this  modest  remuneration  for  his  services  that  before  he  left  the  brethren 
he  painted  for  them  as  a gift  a beautiful  picture  of  ‘The  Nativity  ’ on  the  clois- 
ter wall.  “’Tis  almost  a pity,”  said  the  good  monks,  “that  Bernardino  did 
not  murder  more  men,  that  we  might  have  received  from  him  more  such  gifts.” 

Between  1526  and  1529  Luini  was  at  work  in  Milan,  fulfilling  a com- 
mission from  Allessandro  Bentivoglio  to  decorate  the  interior  of  the  newly 
erected  Church  of  San  Maurizio,  belonging  to  the  ancient  foundation  known 
as  the  Monastero  Maggiore,  where,  with  the  help  of  assistants,  he  achieved 
what.mav  be  regarded  as  his  most  important  and  elaborate  scheme  of  interior 
decoration.  In  1526  he  was  at  Como,  where  he  painted  three  great  pictures 
in  the  cathedral  of  that  town,  ‘The  Nativity,’  the  ‘Adoration  of  the  Magi,’ 
and  ‘The  Madonna  and  Saints.’ 

Three  years  after  this  Luini  left  Milan  for  Lugano,  where  he  had  been 
commissioned  to  decorate  the  screen  of  the  Church  of  Santa  Maria  degli 


25ernar&ino  % u i it  i 


25 


Angeli,  to  paint  a ‘Last  Supper’  for  the  refectory  of  the  adjoining  convent, 
and  to  decorate  a lunette  in  the  cloister.  The  ‘Last  Supper,’  although  it  bears 
a resemblance  to  Leonardo’s  great  picture  of  the  same  subject,  is  different  in 
the  arrangement  of  its  details,  and  full  of  Luini’s  own  individuality.  It  has 
been  removed  from  the  convent,  which  is  now  converted  into  a hotel,  and  is 
preserved  in  the  church  itself. 

Finer  by  far,  however,  is  the  enormous  ‘Crucifixion,’  one  of  the  largest 
single  frescos  ever  painted.  It  covers  the  entire  wall  which  separates  the 
nave  from  the  choir  of  the  church,  and  is  generally  held  to  be  Luini’s  master- 
piece. This  work  bears  the  date  1529.  That  same  year  Luini  was  in  Milan 
again,  decorating,  at  the  instance  of  Francesco  Besozzi,  a chapel  in  the 
Chuich  of  San  Maurizio;  after  which,  in  1530,  he  retired  to  Lugano  to  exe- 
cute the  last  of  his  three  commissions  there,  a fresco  for  the  lunette  of  the 
cloister,  representing  the  Madonna  with  Jesus  and  St.  John.  Again,  in  1533, 
he  seems  to  have  been  in  Lugano,  where  an  entry  in  the  books  of  the  convent 
shows  that  the  last  payment  for  his  works  there,  a sum  of  fifty  lire,  was  de- 
livered to  the  painter  in  that  year. 

After  this,  all  records  cease.  At  the  very  height  of  his  fame,  in  the  full 
force  of  his  artistic  power,  Bernardino  Luini  suddenly  disappears  from  our 
sight.  The  date  of  his  death  and  the  place  of  his  burial  are  alike  unknown. 


Cljr  3rt  of  Hutnt 


GEORGES  LAFENESTRE  ‘MA1TRES  ANCIENS’ 

THE  most  eminent  men  of  genius  in  any  epoch  may  be  compared  to  great 
forest  trees  that  rear  their  branches  into  the  sunlight,  while  their  trunks 
remain  in  shadow,  and  the  eye,  attracted  by  their  imposing  magnificence, 
overlooks  the  smaller  trees,  their  offsprings,  which  stand  beside  them.  How 
many  excellent  painters  at  Rome  and  Florence  were  thus  quite  overshadowed 
by  Raphael  and  Michelangelo!  In  Lombardy  Leonardo  da  Vinci  was  a like 
overshadowing  influence.  But  great  as  it  was,  Leonardo’s  genius  was  not  an 
isolated  thing;  and  the  student  who  directs  his  attention  to  some  of  the  lesser 
painters  who  were  his  followers  and  admirers  will  not  find  himself  unrepaid. 

Before  Da  Vinci’s  arrival  at  Milan,  in  1483,  the  voluptuous  and  spend- 
thrift court  of  the  Sforzas  had  already  in  its  service  a number  of  excellent 
local  srtists,  who  may  be  divided  into  three  groups,  one  following  Bramante, 
another  devoted  to  the  culture  of  the  antique  after  the  example  of  the  Pad- 
uans, while  the  third  drew  inspiration  chiefly  from  the  nature  and  life  about 
them.  Thus  art  in  Lombardy  was  already  in  movement,  and  Leonardo  only 
took  the  lead  in  the  march  and  hastened  its  activity. 

But  in  spite  of  his  precautions  to  transmit  the  broadest  traditions  of  art, 
the  irresistible  power  of  Leonardo’s  personality  would,  no  doubt,  in  the  long 
run,  have  produced  the  same  fatal  results  in  Lombardy  that  the  influence 


26 


in  & r t 

of  Raphael  produced  at  Rome,  and  that  of  Michelangelo  at  Florence,  had  it 
not  been  for  the  course  of  political  events.  A series  of  revolutions,  dating 
from  the  advent  of  Charles  VIII.  of  France,  in  1494,  embroiled  all  Upper 
Italy  and  cut  short  the  spread  of  any  dominant  influence.  After  the  fall  of 
his  patron,  Lodovico  Sforza,  Leonardo  fled  first  to  Florence  and  later  to 
Rome,  only  returning  to  Milan  to  confide  the  care  of  his  old  age  to  the  youth- 
ful ultra-montane  conqueror,  Francis  I.,  who  took  him  to  France  in  1516, 
where  he  died,  shortly  after,  at  the  Hotel  de  Cloux,  near  Amboise.  His  direct 
pupils  and  followers  left  Milan  at  the  same  time.  His  favorite,  the  charm- 
ing and  gentle  Francesco  Melzi,  followed  him  into  exile,  and  when,  after  the 
master’s  death,  he  returned  heartbroken  to  Milan,  he  had  ceased  to  paint 
and  lived  only  in  the  past.  Andrea  Solario,  also  Leonardo’s  companion  in 
exile,  remained  in  France.  Beltraffio  had  died  in  his  early  youth,  before  his 
master;  and  Cesare  da  Sesto,  who  had  meantime  become  the  close  friend  of 
Raphael,  never  returned  from  Rome. 

The  place  which  Leonardo  had  occupied  was  thus  left  vacant  at  Milan; 
and,  having  lost  their  leader,  the  Lombard  painters  regained,  in  a sort,  their 
independence — if  vacillation  between  the  traditions  of  Padua  and  P'lorence, 
of  Mantegna  and  Leonardo,  can  be  called  independence.  There  were,  how- 
ever, at  this  time  in  Milan  two  men  of  greater  individuality,  who  were  to  be- 
come famous:  Gaudenzio  Ferrari,  bold,  daring,  a lover  of  great  spectacles 
and  energetic  coloring,  and  Bernardino  Luini,  sympathetic,  charming,  de- 
voted to  grace,  and  most  susceptible  to  beauty. 

No  better  example  than  that  of  Luini  could  be  cited  to  prove  with  what 
power  a great  genius  imposes  itself  on  a weaker,  though  an  even  more  than 
usually  individual,  nature.  Luini  was  the  faithful  follower  of  Leonardo  from 
a distance.  Indeed,  so  closely  did  he  adapt  his  style  to  that  of  Da  Vinci 
that  their  works  have,  until  recently,  been  commonly  confounded,  most  of 
Luini’s  pictures  having  at  one  time  or  another  been  attributed  to  a master 
whose  pupil  he  had  in  all  probability  never  been. 

With  an  artist  so  unequal  as  Luini  always  was,  it  is  impossible  to  deter- 
mine the  sequence  of  his  works  with  any  precision  in  the  absence  of  doc- 
uments; but  some  of  his  frescos,  now  in  the  Brera  Gallery,  Milan,  show, 
nevertheless,  such  involuntary  awkwardness  in  parts  that  we  may  unhes- 
itatingly attribute  them  to  the  fumblings  of  juvenile  inexperience,  and  not  to 
the  carelessness  of  an  accomplished  painter.  Yet,  even  in  his  early  works, 
Luini’s  individual  bent  is  clearly  apparent.  He  already  knows  how  to  en- 
dow his  figures  with  that  naive  lovableness  which  was  peculiar  to  him,  and 
already  shows,  in  his  methods  of  grouping  and  action  and  his  manner  of  ex- 
pressing sentiment,  that  same  charming  and  primitive  simplicity  which  was 
more  and  more  to  single  him  out  among  contemporaries  who  were  daily 
further  and  further  misled  by  examples  from  Rome  and  Venice  into  attempt- 
ing theatrical  wise  en  scene  and  picturesque  over-action. 

Even  in  these  early  works,  too,  we  may  perceive  that  Luini  was  one  of 
those  Renaissance  artists  who  most  naturally  apperceived  impressions  of  the 
outer  world  after  the  antique  fashion.  Pompeii  and  Herculaneum  had  not 


25ernar&ino  % u i n i 


27 


vet  come  to  light,  and  fragments  of  the  works  of  Greeks  and  Romans  were 
still  rare,  even  in  the  Eternal  City.  It  is  doubtful  if  Luini  could  have  seen 
any  great  number  of  them  even  in  drawings,  but  he  seems  to  have  penetrated 
the  spirit  of  classic  art  with  an  ease  which  can  be  explained  only  by  a natural 
aptitude.  His  early  compositions,  by  their  simplicity,  often  recall  the  dispo- 
sition of  the  classic  bas-reliefs;  and  before  more  than  one  of  his  pictures  we 
seem  to  catch  some  hint  of  a less  sensual  antiquity,  a sort  of  Christian  Pom- 
peii, as  it  were.  His  lighting  is  always  simple,  without  any  violent  effects  of 
chiaroscuro;  but  the  outlines  are  not  drawn  with  the  rigidity  of  the  Prim- 
itives, and  the  soft  coloring  has  none  of  that  look  of  sharpness  or  dryness 
which  was  so  common  in  the  frescos  of  his  own  time. 

He  never,  from  these  beginnings  on — and  it  is  perhaps  one  of  his  most 
delightful  characteristics — seems  to  have  made  any  of  the  pretensions  either 
to  ideal  or  technical  elaborateness  which  were  common  with  so  many  of  the 
artists  of  his  day.  Throughout  his  whole  achievement  we  find  no  touch  of 
mannerism;  and  he  owes  his  unfailing  seductiveness  to  the  surety  with  which 
he  selected  from  common  life  the  attitudes  of  grace,  and  to  the  unassumed  ele- 
vation of  a sensitive,  beauty-loving  imagination,  which  kept  him  equally  from 
labored  subtlety  or  banal  trivialities. 

The  subjects,  at  least  of  his  easel-pictures,  are  but  little  varied.  ‘The 
Daughter  of  Herodias,’  ‘The  Holy  Family,’  and  the  ‘Madonna  and  Child’ 
were  for  him  inexhaustible  themes  in  which  he  might  best  show  his  exqui- 
site understanding  of  feminine  beauty  and  delicate  appreciation  of  maternal 
love.  His  figures  of  women,  taken  from  his  own  race,  may  be  divided  into 
two  principal  types,  which  seem  to  have  haunted  his  imagination  from  first  to 
last.  One  was  the  slender  woman  of  aristocratic  blood,  fine,  delicate,  and 
white,  whose  blond  waving  tresses,  dark  passionate  eyes,  and  insoluble  and 
disquieting  smile  had  already  bewitched  Leonardo;  the  other  was  the  strong 
woman  of  the  people,  with  square  shoulders  and  fine  ruddy  flesh,  thick  black 
hair,  and  frank  open  eyes.  His  figures  of  the  child  Jesus  or  of  the  little  St. 
John  are  alwavs  vivacious,  dimpled,  rosy  children,  true  portraits  of  the  Italian 
babies  which  he  must  have  seen  playing  before  the  doorways  beside  the  long 
dusty  roads. 

At  a time  when  imitation  of  the  greater  masters  of  Rome,  Florence,  and 
Venice  was  the  fashion,  Luini  had  the  good  sense  never  to  swamp  his  own 
natural  and  sympathetic  expression  in  striving  after  great  effects  or  tours  de 
force  of  execution.  Formed  in  the  most  cunning  and  skilful  of  all  the  schools 
of  painting,  he  nevertheless,  by  the  candor  of  his  impressions,  and  the  mod- 
esty of  his  expressions,  remains  linked  with  the  Primitives.  Like  them,  his 
religious  subjects  were  expressions  of  the  sincere  piety  with  which  his  soul 
overflowed,  not  pretexts  for  the  exhibition  of  artistic  sleight  of  hand.  Like 
them,  he  never  ceased  to  welcome  any  sweet  and  simple  suggestion  which 
casual  living  nature  might  afford.  Like  them,  he  charms  us  by  that  sincere 
poetrv  which  disappeared  in  the  other  Italian  artists  just  in  measure  as  they 
became  enslaved  bv  tradition. 

Less  knowing,  iess  bold,  less  beautiful,  less  sure,  than  his  master  Leo- 


28 


I 

01  a 0 t e r £ in  31  r t 

nardo;  less  careful  in  his  execution  than  his  co-disciples,  Cesare  da  Sesto,  Sala, 
and  Solario;  less  various  in  composition  and  less  rich  in  color  than  his  com- 
panion and  pupil,  Gaudenzio  Ferrari,  he  was  superior  to  all  of  them,  yes, 
even  to  Leonardo  himself,  in  the  sympathetic  charm,  naive  emotion,  and 
sincere  tenderness  which  breathe  from  his  works.  — abridged  from  the 
french 

A.  F.  RIO  ‘DE  L’ART  CHRETIEN’ 

OF  all  the  gaps  which  occur  in  Vasari’s  ‘Lives  of  the  Painters,’  that  which 
seems  most  incomprehensible  and  unpardonable  is  his  omission  of  any 
adequate  mention  of  Bernardino  Luini.  One  would  have  thought  that  Luini’s 
but  recently  completed  works  must  have  forced  themselves  upon  his  admira- 
tion, or  at  any  rate  upon  his  notice,  for  when  Vasari  visited  Milan  in  1565 
he  must  have  seen  them  everywhere, — in  churches,  in  chapels,  in  all  public 
places.  He  could  not  have  remained  blind  to  the  admiration  of  the  Milan- 
ese for  them,  and  to  their  reverential  esteem  for  the  memory  of  the  painter. 
In  the  face  of  all  these  reasons  for  having  included  Luini’s  biography  in  his 
history,  Vasari  did  omit  him,  however;  and  it  seems  as  though  he  must  have 
been  actuated  by  some  reason  stronger  than  any  mere  school  rivalry.  . . . 

Whether  Bernardino  Luini  was  Leonardo’s  direct  pupil,  or  whether  he 
appropriated  the  master’s  style  and  manner,  as  far  as  in  him  lay,  because  of 
mere  natural  inclination  for  that  form  of  expression,  it  is  certain  at  any  rate 
that  no  other  painter  ever  availed  himself  so  largely,  and,  be  it  added,  so 
worthily,  of  the  heritage  left  by  the  great  Florentine.  And  yet,  though  from 
a purely  external  point  of  view  none  ever  followed  Leonardo  so  closely,  it 
should  be  added  at  once,  lest  we  do  injustice  to  Luini,  that  there  lay  in  his 
nature  two  qualities  which  were  dominant  even  over  his  passion  for  Leo- 
nardo’s manner.  One  of  these  was  his  religious  sentiment;  the  other  was  his 
innate  love  of  grace, — a grace  as  spontaneous  and  free  from  affectation  as 
was  his  piety.  From  Leonardo  he  took  his  gracious  types,  and  simplified 
them;  his  severe  types,  and  softened,  often  weakened,  them;  but  in  many 
a picture,  particularly  those  in  which  he  painted  the  Virgin  and  the  Child,  or 
the  saints  in  moments  of  fervor  or  repentance,  he  shows  himself  spiritually 
superior  to  Leonardo. 

The  difference,  perhaps,  was  due  no  more  to  their  differences  of  character 
than  to  those  of  circumstance  and  environment.  Leonardo  da  Vinci  played 
a princely  part  on  the  world’s  stage.  His  patrons  were  sovereigns.  Every 
one  of  his  rare  brush-strokes  was  hailed  with  acclaim.  For  nearly  twenty 
years  he  reigned  supreme  over  the  school  which  he  himself  had  created. 
Luini,  on  the  other  hand,  fell  upon  evil  days,  and  doubtless  bore  his  full  share 
of  the  public  misery  and  oppression  to.  which  Milan,  the  city  of  his  adoption, 
was  subjected.  His  patrons  must  have  been  principally  those  who  wept  for 
things  present  and  prayed  for  things  to  come;  and  as  the  evil  years  followed 
one  another  without  notable  surcease,  he  was  in  no  danger  of  lacking  inspira- 
tion for  the  type  of  art  such  patrons  desired.  His  mission,  as  it  was  set  him 
by  his  times,  was  to  delight  the  eyes  of  those  in  whom  present  misery  had 


29 


Bernardino  % u i n i 

quickened  the  desire  for  beauty,  and  whose  thoughts  had  been  turned  by 
temporal  oppression  to  things  of  heaven.  These  circumstances  may,  perhaps, 
explain  something  of  Luini’s  constant  and  unworldly  grace,  and  the  gentle 
melancholy  and  sincere  piety  of  his  saints  and  Virgins. 

On  the  side  of  pure  artistry,  however,  be  it  remembered  that  he  never  ceased 
to  copy  Leonardo’s  works,  piously  finishing — at  least  so  the  story  goes — 
those  that  the  master  had  left  uncompleted.  But  in  addition  to  the  major 
influence,  direct  or  indirect,  of  Leonardo,  two  minor  influences  concurred  in 
affecting  Luini’s  work.  The  first  of  these  was  upon  the  spiritual  side,  and 
came  from  Gaudenzio  Ferrari,  his  coreligionist  in  faith  and  art,  from  whom 
he  borrowed  something  of  religious  sentiment:  the  second  was  upon  the  ex- 
ternal side,  and  was  due  to  Raphael,  from  whom  Luini  borrowed  to  a certain 
extent  in  manner.  But  these  secondary  influences  are  not  always  easily  ap- 
parent in  his  works.  They  are  rather  like  undercurrents,  which  influence 
the  drift  but  do  not  show  upon  the  surface;  and  in  the  main  we  shall  not 
misjudge  Luini  if  we  call  him  a painter  whose  style  was  an  imitation,  so  far 
as  in  him  lay,  of  Leonardo  da  Vinci’s,  but  whose  work  was  individualized  and 
tinctured  by  a native  grace  and  a sincere  and  unaffected  piety.  — from  the 
FRENCH 

ENCYCLOPEDIA  BRITANNICA  ‘LUINI’ 

A SERENE,  contented,  and  happy  mind,  naturally  expressing  itself  in 
forms  of  grace  and  beauty,  seems  stamped  upon  all  the  works  of  Luini. 
Along  with  this  natural  sweetness  of  character,  a dignified  suavity  is  the 
most  marked  characteristic  of  his  works.  They  are  constantly  beautiful,  with 
a beauty  which  depends  at  least  as  much  upon  the  loving  self-withdrawn 
expression  as  upon  the  mere  refinement  and  attractiveness  of  form.  This 
quality  of  expression  appears  in  all  Luini’s  productions,  whether  secular  or 
sacred,  and  imbues  the  latter  with  a peculiarly  religious  grace — not  ecclesi- 
astical unction,  but  the  devoutness  of  the  heart.  His  faces,  while  extremely 
like  those  painted  by  Leonardo,  have  less  subtlety  and  involution  and  less 
variety  of  expression,  but  fully  as  much  amenity.  He  began  indeed  with  a 
somewhat  dry  style,  but  this  soon  developed  into  the  quality  which  distin- 
guishes all  his  most  renowned  works;  although  his  execution,  especially  as 
regards  modeling,  was  never  absolutely  on  a par  with  Leonardo’s. 

Luini’s  paintings  do  not  exhibit  an  impetuous  style  of  execution,  and  cer- 
tainly not  a negligent  one.  His  method  was  simple  and  expeditious,  the 
shadows  being  painted  with  the  pure  color  laid  on  thick,  while  the  lights  are 
of  the  same  color  thinly  used,  and  mixed  with  a little  white.  His  coloring  is 
mostly  rich,  and  his  light  and  shade  forcible. 

G.  C.  WILLIAMSON  ‘BERNARDINO  LUINI’ 

IUINI  was  a master  of  fresco  work.  It  was  the  suitable  medium  in  which 
j to  express  his  thoughts;  the  vision  of  his  mind  could  easily  and  rapidly 
be  placed  upon  the  wall,  and  the  very  rapidity  of  the  work  and  its  sketch-like 
character  were  all  in  his  favor. 


30 


Jttagtcrg  in  & r t 

He  was  a shrewd  and  dexterous  colorist,  his  frescos  are  luminous  and  bril- 
liant but  never  gaudy,  his  easel-pictures  rich,  deep,  and  harmonious.  In  fresco 
his  scale  of  coloring  is  a low  one,  and  his  colors  grayish  in  tone,  such  tints 
as  salmon,  orange,  pale  brown,  puce,  and  cold  blue  being  his  favorites.  In 
his  easel-pictures  a different  scheme  prevailed,  and  his  tints  are  velvety  red, 
delicate  roses  and  greens,  and  intense  purples  and  browns;  but  the  result  is 
always  harmonious. 

His  knowledge  of  landscape  was  but  slight;  buildings  are  well  drawn, 
mountains  are  well  suggested;  but  trees  are  bevond  him,  and  the  sky,  with  its 
clouds  (which  curiously  enough  is  never  really  blue  in  his  pictures),  baffles 
him  altogether. 

He  was  neither  so  subtle  nor  so  profound  as  Leonardo.  He  was  not  so 
archaic  as  are  Borgognone  and  Foppa,  nor  so  architectural  as  Bramantino, 
nor  so  luscious  and  voluptuous  in  style  and  coloring  as  Gaudenzio  Ferrari. 
His  composition  is  not  nearly  so  original  as  is  Sodoma’s,  nor  so  well-balanced 
as  is  Bramantino’s. 

He  was  persevering,  hard-working,  and  simple  in  his  efforts,  and  has  left 
behind  him  a vast  quantity  of  work,  very  much  of  which  is  of  the  first  order 
of  merit.  He  was  not  dramatic  in  his  expression,  but  rather  lyric;  not  in- 
ductive, but  deductive;  not  objective,  but  subjective.  His  visions  were  within 
his  breast,  they  inspired  his  art,  and  his  pencil  reflected  his  own  inner  con- 
sciousness. 

He  cannot  be  called  a great  master.  He  was  very  weak  in  composition,  his 
frescos  are  often  too  crowded.  There  is  a poverty  in  his  early  efforts,  a mon- 
otony and  a sameness  of  feature,  the  domestic  element  is  uppermost,  the  he- 
roic or  epic  almost  absent,  the  idyllic  in  the  greatest  demand.  Later  on,  with 
the  same  general  characteristics,  comes  the  deep  and  intense  religious  devo- 
tion, and  it  is  this  which  is  the  key-note  of  his  life.  Symonds  recognized  his 
wonderful  power  to  “create  a mood.”  His  pictures,  like  a note  of  music, 
draw  a corresponding  chord  from  the  heart;  and  this  chord  is,  at  the  will  of 
the  painter,  bright  with  joy  or  tremulant  with  sorrow  and  grief.  His  friends 
were,  as  Rio  expressed  it,  “those  who  prayed  and  those  who  wept,”  and  it 
is  to  them  that  he  still  appeals  so  forcibly. 

The  man’s  intense  faith,  his  deep  devotion,  the  truth  of  his  religion,  and 
his  intimate  knowledge  of  the  mysteries  alike  of  joy  and  of  bitter  sorrow  are 
revealed  by  his  pictures.  His  own  tenderness  of  nature,  the  sweetness  of  his 
affection,  his  chivalry,  thoughtfulness,  serious  disposition,  and  calm  serene 
faith, — all  these  are  elements  of  his  life  taught  by  his  works. 

JOHN  RUSKIN  ‘QUEEN  OF  THE  AIR’ 

IUINI  is,  perhaps,  the  best  central  type  of  the  highly  trained  Italian 
painter.  He  is  the  only  man  who  entirely  united  the  religious  temper 
which  was  the  spirit-life  of  art  with  the  physical  power  which  was  its  bodily  life. 
He  joins  the  purity  and  passion  of  Fra  Angelico  to  the  strength  of  Veronese: 
the  two  elements,  poised  in  perfect  balance,  are  so  calmed  and  restrained,  each 
bv  the  other,  that  most  of  us  lose  the  sense  of  both.  The  artist  does  not  see 
the  strength,  by  reason  of  the  chastened  spirit  in  which  it  is  used;  and  the 


25  e r n a r D i u o Huttii 


31 


religious  visionary  does  not  recognize  the  passion,  by  reason  of  the  frank 
human  truth  with  which  it  is  rendered.  . . . 

Luini  has  left  nothing  behind  him  that  is  not  lovely,  but  of  his  life  I be- 
lieve hardly  anything  is  known  beyond  remnants  of  tradition  which  murmur 
about  Lugano  and  Saronno,  and  which  remain  ungleaned.  This  only  is  cer- 
tain, that  he  was  born  in  the  loveliest  district  of  North  Italy,  where  hills  and 
streams  and  air  meet  in  softest  harmonies.  Child  of  the  Alps,  and  of  their 
divinest  lake,  he  is  taught,  without  doubt  or  dismay,  a lofty  religious  creed, 
and  a sufficient  law  of  life,  and  of  its  mechanical  arts.  Whether  lessoned  by 
Leonardo  himself,  or  merely  one  of  many  disciplined  in  the  system  of  the 
Milanese  school,  he  learns  unerringly  to  draw,  unerringly  and  enduringly  to 
paint.  His  tasks  are  set  him  without  question,  day  by  day,  by  men  who  are 
justly  satisfied  with  his  work,  and  who  accept  it  without  any  harmful  praise 
or  senseless  blame.  Place,  scale,  and  subject  are  determined  for  him  on  the 
cloister  wall  or  the  church  dome;  as  he  is  required,  and  for  sufficient  daily 
bread,  and  little  more,  he  paints  what  he  has  been  taught  to  design  wisely, 
and  has  passion  to  realize  gloriously;  every  touch  he  lays  is  eternal,  every 
thought  he  conceives  is  beautiful  and  pure ; his  hand  moves  always  in  radiance 
of  blessing;  from  day  to  day  his  life  enlarges  in  power  and  peace;  it  passes 
away  cloudlessly,  the  starry  twilight  remaining  arched  far  against  the  night. 

F.  T.  KUGLER  ‘THE  ITALIAN  SCHOOLS  OF  PAINTING’ 

BERNARDINO  LUINI  holds  perhaps  the  foremost  rank  among  the 
Lombard  painters  indirectly  influenced  by  Leonardo.  He  was  not,  as  is 
generally  supposed,  a pupil  of  Da  Vinci,  but  appears  to  have  learned  the 
elements  of  his  art  from  one  Scotto,  a painter  of  whom  nothing  is  known, 
passing  afterwards  into  the  school  of  Ambrogio  Borgognone,  who  may  be 
considered  as  his  real  master.  It  was  not  until  much  later  that  he  established 
himself  at  Milan,  and  was  influenced  by  the  works  of  Leonardo.  Whether 
he  ever  saw  the  master  himself  is  doubtful.  It  was  not  until  after  IS  10  that 
he  imitated  him,  and  adopted  his  second,  or  Leonardesque,  manner,  depart- 
ing from  that  of  his  first  teachers.  It  was  more  than  ten  years  later  that,  in  his 
third,  or  what  is  known  as  his  “blond,”  manner,  he  completely  developed  his 
own  stvle,  showed  himself  a really  independent  master,  and  executed  the 
works  upon  which  his  reputatipn  is  mainly  founded.  Luini  was  fortunately 
a very  prolific  artist,  and  painted  in  tempera,  fresco,  and  oil.  He  rarely 
signed  his  pictures;  only  four,  belonging  to  his  last  period,  are  inscribed 
with  his  name. 

The  great  merit  of  Luini  has  been  acknowledged  only  comparatively  re- 
cently. The  qualities  of  power  and  great  individuality  are  not  included  within 
the  range  of  his  art;  but  in  purity,  grace,  and  spiritual  expression,  his  works,  in 
their  appeal  to  the  heart,  take  rank  with  the  highest  known.  His  career  em- 
braced the  period  of  transition  from  the  earnestness  of  the  older  masters  to 
the  feeling  for  beauty  which  marked  the  perfection  of  Italian  art,  and  his 
works,  especially  those  of  his  later  period,  embody  both.  Pictures  by  Luini 
long  passed  under  the  name  of  Leonardo;  yet  his  type  is  so  decided  and  dis- 
tinct that  his  hand  is  now  easily  recognized.  His  likeness  to  Leonardo,  in 


32 


01  a ? t c r 0 in  31  r t 

pictures  of  his  second  manner,  is  confined  to  a smiling  and  pathetically  be- 
atific expression  common  to  both,  but  much  more  frequent  in  Luini,  whose 
heads  of  women,  children,  and  angels  present  every  grade  from  calm  seren- 
ity, sweet  cheerfulness,  and  innocent  happiness,  to  ecstatic  rapture.  The 
transparency  and  refined  delicacy  of  his  coloring  and  the  accuracy  and  free- 
dom of  his  execution  place  him  among  the  first  of  fresco-painters,  and  as  a 
decorative  painter  he  is  also  almost  unrivaled. 

JOHN  ADDINGTON  SYMONDS  ‘RENAISSANCE  IN  ITALY’ 

WITHOUT  Leonardo  it  is  difficult  to  say  what  Luini  would  have  been, 
so  thoroughly  did  he  appropriate  his  teacher’s  type  of  face,  and,  in  oil- 
painting,  his  refinement.  And  yet  Luini  stands  on  his  own  ground,  in  no 
sense  an  imitator,  with  a genius  more  simple  and  idyllic  than  Da  Vinci’s. 

To  the  circumstance  of  his  having  done  his  best  work  in  places  hardly 
visited  until  of  late  years  may  in  part  perhaps  be  attributed  the  tardy  recog- 
nition of  a painter  eminently  fitted  to  be  popular.  Luini  was  essentially  a 
fresco-painter.  None,  perhaps,  of  all  the  greatest  Italian  frescanti  realized  a 
higher  quality  of  brilliancy  without  gaudiness  by  the  scale  of  colors  he  se- 
lected and  by  the  purity  with  which  he  used  them  in  simple  combinations. 
His  frescos  are  never  dull  or  heavy  in  tone,  never  glaring,  never  thin  or 
chalky.  He  knew  how  to  render  them  both  luminous  and  rich,  without  fall- 
ing into  the  extremes  that  render  fresco-paintings  often  less  attractive  than 
oil-pictures.  His  feeling  for  loveliness  of  form  was  original  and  exquisite. 
The  joy  of  youth  found  in  Luini  an  interpreter  only  less  powerful  and  even 
more  tender  than  in  Raphael.  While  he  shared  with  the  Venetians  their  sensi- 
bility to  nature,  he  had  none  of  their  sensuousness  or  love  of  pomp.  The 
sentiment  for  naive  and  artless  grace,  so  fully  possessed  by  Luini,  gave  fresh- 
ness to  his  treatment  of  conventional  religious  themes.  Under  his  touch  they 
appeal  immediately  to  the  most  untutored  taste,  without  the  aid  of  realistic  or 
sensational  effects.  Among  all  the  Madonnas  ever  painted,  his  picture  of 
Mary  with  the  trellis  of  white  roses,  and  another  where  she  holds  the  infant 
Christ  to  pluck  a purple  columbine,  distinguish  themselves  by  this  engaging 
spontaneity.  The  fresco  of  St.  Catherine  carried  by  angels  to  Mt.  Sinai  might 
be  cited  for  the  same  quality  of  freshness  and  unstudied  poetry. 

When  the  subject  demanded  the  exercise  of  grave  emotion  Luini  rose  to 
the  occasion  without  losing  his  simplicity.  All  harsh  and  disagreeable  details 
are  either  eliminated  or  so  softened  that  the  general  impression,  as  in  Per- 
golesi’s  music,  is  one  of  profoundest  and  yet  sweetest  sorrow.  Luini’s  genius 
was  not  tragic.  The  nearest  approach  to  a dramatic  motive  in  his  work  is 
the  figure  of  the  Magdalene  kneeling  before  the  cross,  in  the  ‘Crucifixion’ 
in  Lugano,  with  her  long  yellow  hair  streaming  over  her  shoulders,  and  her 
arms  thrown  backward  in  an  ecstasy  of  grief.  He  did  well  to  choose  mo- 
ments that  stir  tender  sympathy — the  piety  of  deep  and  calm  devotion.  How 
truly  he  felt  them — more  truly,  I think,  than  Perugino  in  his  best  period  — 
is  proved  bv  the  correspondence  they  awake  in  us.  Like  melodies,  they  create 
a mood  in  the  spectator. 


25  critarlitno  II  u i n i 


33 


Ci )t  iPotts  of  SLutnt 

DESCRIPTIONS  OF  THE  PLATES 

‘THE  MADONNA  OF  THE  ROSE-HEDGE*  PLATE  I 

THIS  picture,  one  of  Luini’s  loveliest  productions,  was  painted  between 
1515  and  1 520  for  the  Certosa  of  Pavia.  Early  in  the  nineteenth  cen- 
tury it  was  sold  by  the  monks  of  that  place  to  a private  owner,  and  in  1825 
was  purchased  from  him  for  the  Brera  Gallery,  Milan,  where  it  now  hangs. 

In  the  general  character  of  its  technique  the  influence  of  Leonardo  is  ap- 
parent in  this  work,  but  the  type  of  the  Madonna,  and  still  more  the  face  of 
the  Child,  with  its  “expressive  and  far-seeing  eyes,”  recalls  rather  the  Ma- 
donna pictures  of  Raphael. 

The  Virgin,  clad  in  a red  robe,  is  seated  in  front  of  a trellis  covered  with 
white  roses.  A blue  mantle  is  draped  over  her  fair  hair.  “The  sweet  humility 
of  her  expression  and  the  natural  movement  of  the  Child,  turning  to  pick 
the  columbine  in  the  flower-pot  at  his  side,”  writes  Julia  Cartwright,  “ar; 
alike  characteristic  of  Luini,  whose  perfect  taste  rarely  fails  to  lend  distinction 
to  his  conception,  and  of  whom  Mr.  Ruskin  has  said  with  truth  that  ‘he  has 
left  nothing  behind  him  that  is  not  lovely.’” 

‘PORTRAIT  OF  A LADY’  PLATE  II 

IN  his  recent  monograph  on  Luini,  Dr.  Williamson  enumerates  three  por- 
traits, and  three  only,  by  the  hand  of  that  artist, — ‘La  Columbina,’  of 
which  a reproduction  is  given  in  the  present  number,  a slightly  tinted  draw- 
ing of  a woman  in  the  Albertina,  Vienna,  and  this  ‘Portrait  of  a Lady’  in 
Mr.  R.  H.  Benson’s  collection,  London. 

It  is  not  known  whom  this  carefully  painted  portrait  represents.  The  lady 
wears  a dark  gray  gown  with  white  embroidered  chemisette  and  yellow  head- 
dress. In  her  right  hand  is  a marten,  and  with  her  left  hand  she  touches  a 
long  necklace  to  which  a jeweled  cross  is  attached.  A green  curtain  forms 
the  background. 

“The  work  is  an  altogether  unexpected  revelation  on  the  part  of  Luini,” 
writes  Signor  Frizzoni,  “but  in  the  noble  bearing,  in  the  smile  which  seems 
to  us  like  a reflection  of  Leonardo’s  ‘Mona  Lisa,’  yes,  even  in  the  somewhat 
awkward  arrangement  of  the  fingers  of  his  beautiful  model,  we  recognize  that 
this  is  unmistakably  a genuine  Luini.” 

‘THE  HOLY  FAMILY*  PLATE  III 

IN  this  panel-picture,  painted  in  fresco,  Luini  has  represented  the  Madonna 
standing  with  outstretched  arms,  infolding  in  her  mantle  the  infant  Jesus 
and  St.  John,  who,  seated  on  a parapet  in  the  foreground  of  the  picture,  are 
embracing  one  another.  Beside  the  Madonna  is  a tall  flowering  lily  such  as 
Luini  frequently  introduced  into  his  compositions,  and  against  the  dark  and 


34 


;|tta$fter0  in  & r t 

shadowy  background  is  the  figure  of  St.  Joseph,  leaning  upon  a staff.  The 
whole  work  is  full  of  that  tender  pathos  especially  characteristic  of  Luini’s 
Madonna  pictures,  which  perhaps  more  than  any  others  are  like  melodies 
and  “create  a mood.” 

The  picture  was  sent  by  Philip  IV.  of  Spain  to  the  monastery  of  the  Esco- 
rial,  and  was  later  removed  to  the  Prado  Gallery,  Madrid,  where  it  now  hangs. 

‘ST.  CATHERINE  AND  TWO  ANGELS^  PLATE  IV 

ST.  CATHERINE  of  Alexandria  was  a favorite  subject  with  all  the  artists 
of  the  Lombard  school,  and  Luini  has  repeatedly  represented  various  in- 
cidents in  the  life  of  this  virgin  saint.  In  the  inner  chapel  of  the  Church  of 
San  Maurizio,  Milan,  he  painted  two  frescos  depicting  her  martyrdom;  at 
Saronno  we  find  her  figure  in  one  of  the  niches  of  the  church ; among  his  easel- 
pictures  are  two  representing  her  mystic  marriage,  and  others  in  which  she 
is  introduced  as  attendant  upon  the  Madonna;  and  again,  he  has  shown  her 
borne  by  angels  to  her  tomb  (plate  x).  In  the  picture  which  is  here  repro- 
duced we  see  her  richly  robed  in  red,  and  holding  in  her  hands  the  book  ex- 
pressive of  learning  and  eloquence,  of  which  she  was  the  patron  saint.  A 
light  gauzy  drapery  is  over  her  shoulders,  and  jasmine  flowers,  like  stars,  adorn 
her  hair.  Child  angels  stand  on  either  side  of  her,  one  holding  a palm  and  the 
other  a wheel,  emblems  of  her  martyrdom. 

This  picture  belonged  originally  to  the  Duke  of  Medina,  and  then  passed 
into  the  possession  of  the  kings  of  France.  Subsequently  it  was  at  Malmaison, 
the  residence  of  the  Empress  Josephine,  and  in  1815  was  acquired  by  the 
Hermitage  Gallery,  St.  Petersburg,  where  it  now  hangs. 

‘THE  CRUCIFIXION’  [DETAIL]  PLATE  V 

IUINI’S  vast  fresco  of ‘The  Crucifixion,’  of  which  the  central  portion 
j is  here  reproduced,  covers  the  whole  screen  before  the  choir  in  the 
Church  of  Santa  Maria  degli  Angeli  at  Lugano,  a space  which  measures 
some  fifty  feet  broad  by  twenty-five  feet  high.  It  bears  the  date  1529,  and 
is  one  of  the  last  as  well  as  the  greatest  of  the  artist’s  works.  Unfortunately, 
it  has  suffered  sadly  from  the  ravages  of  time,  and  its  originally  rich  colors 
have  become  blackened,  and  in  some  places  effaced,  by  smoke  and  incense. 

It  has  been  said  that  in  this  celebrated  fresco  all  Luini’s, virtues  and  his 
one  great  fault — failure  in  composition — are  manifested.  But  although  the 
work  is  far  too  crowded  as  a composition,  and  so  lacking  in  unity  that  the 
spectator  at  first  feels  lost  in  the  complexities  of  its  design,  the  beauty  of  the 
single  groups  is  so  striking,  and  the  devotional  spirit  which  inspired  the  artist 
so  marked  that  the  picture  cannot  fail  to  be  profoundly  impressive. 

In  the  center  stands  the  lofty  cross  on  which  the  Saviour  hangs,  a cru- 
cified thief  is  on  either  side,  while  crowds  of  men,  women,  and  children, 
soldiers  and  horses,  stand  around.  The  air  above  is  filled  with  groups 
of  sorrowing  angels  which  hover  about  the  dying  Christ;  and  in  the  dis- 
tance, on  a raised  plateau,  the  consecutive  events  of  the  Passion  are  depicted. 


Bernardino  31  u i it  i 


35 


Still  farther  beyond  stretches  a hilly  landscape  with  a view  of  the  town  of 
Lugano  and  the  church  which  contains  the  fresco.  The  style  of  the  pic- 
ture is,  as  Mr.  J.  Beavington-Atkinson  has  said,  “a  little  out  of  keeping  with 
its  chronology.  It  survives,  indeed,  as  the  last  masterwork  which  succeeds 
in  reconciling  the  spirituality  of  the  earliest  Christian  period  with  the  perfect 
physical  development  of  the  Italian  Renaissance.” 

The  part  of  the  fresco  that  is  here  reproduced  represents  the  group  of  fig- 
ures at  the  foot  of  the  cross.  In  the  centre  stands  Joseph  of  Arimathea  bear- 
ing the  vessel  of  vinegar  in  which  a sponge  has  just  been  dipped.  Near  him 
is  St.  John,  a figure  full  of  beauty  and  pathos,  standing  with  one  hand 
upon  his  breast,  his  gaze  upturned  to  Christ.  In  front  are  the  soldiers  dis- 
puting over  the  garments  of  the  Saviour,  and  behind  is  the  centurion  on 
horseback,  whose  face  is  said  to  be  a likeness  of  the  artist.  To  the  extreme 
left  the  Madonna  is  seen  swooning  in  the  arms  of  the  holy  women,  and  at 
the  foot  of  the  cross  kneels  Mary  Magdalene,  richly  dressed,  her  arms  pas- 
sionately outstretched,  her  head  raised  to  the  Redeemer,  her  long  hair  falling 
in  golden  waves  over  her  shoulders.  “A  sublime  figure,”  Monsieur  Gauthiez 
calls  her,  and  Symonds  says  that  in  this  kneeling  Magdalene  Luini  more 
nearly  approached  a dramatic  motive  than  anywhere  else  in  the  whole  range 
of  his  art. 

‘THE  DAUGHTER  OF  HERODIAS'  PLATE  VI 

“PALOME,  the  daughter  of  Herodias,  was  often  selected  by  painters  as 
O the  theme  of  their  pictures  because  of  her  traditional  beauty,”  writes 
Signor  Frizzoni,  “and  we  know  that  this  subject  was  treated  by  Luini  at 
least  four  times.  One  of  these  works  is  in  Florence,  another  in  Milan,  a 
third  in  Paris,  and  a fourth  hangs  in  the  Imperial  Gallery,  Vienna.  In  all 
four  versions  Salome’s  cold  beauty,  her  regular  features  and  rippling  golden 
hair,  are  contrasted  with  the  tragic  spectacle  offered  by  the  severed  head  of 
John  the  Baptist.” 

The  Vienna  version,  formerly  attributed  to  Leonardo  da  Vinci,  is  here  re- 
produced. Salome  is  holding  a silver  dish  upon  which  lies  the  head  of  St.  John, 
with  its  calm,  peaceful  face  and  long,  dark,  curling  locks.  Behind  Salome  is 
seen  the  executioner. 

“Salome  differs  in  features  in  each  version  of  the  subject,”  writes  Dr. 
Williamson;  “but  her  style  of  dress,  her  full  bosom,  only  partially  hidden 
by  the  undergarment,  her  long,  rich,  waving  hair  confined  by  a fillet,  are 
similar  in  each  picture.  She  is  a beautiful,  sensuous,  and  voluptuous  woman, 
devoid  of  sympathy  or  tenderness, — characteristics  which  are  marked  not 
only  in  her  face,  but  in  her  form  and  hands.” 


“LA  COLUMBINA”  PLATE  VII 

THIS  celebrated  picture  has  long  been  a subject  of  dispute  among  the 
critics.  As  was  the  case  with  so  many  of  Luini’s  works,  it  was  for 
many  years  ascribed  to  Leonardo  da  Vinci,  an  attribution  which  in  this  case 


36 


01  a £ t e t £ in  & r t 


seemed  a natural  one,  owing  to  the  fact  that  the  face  of  the  lady  in  ‘ La  Col- 
umbina’  bears  a close  resemblance  to  that  of  the  Virgin  in  Leonardo’s  great 
cartoon  of  St.  Anne  in  the  Royal  Academy,  London.  Mr.  Claude  Phillips, 
who  calls  ‘La  Columbina’  “a  puzzle,”  suggests  that  the  reason  of  its  indis- 
putable fascination  is  that  in  its  composition  some  drawing  of  Da  Vinci’s  has 
been  closely  followed.  Crowe  and  Cavalcaselle,  however,  pronounce  the 
picture  to  be  the  work  of  Solario;  Morelli  attributes  it  to  Gianpetrino;  in 
the  Hermitage  Gallery,  St.  Petersburg,  where  it  now  hangs,  it  is  catalogued 
under  the  name  of  Francesco  Melzi;  while  Dr.  Williamson,  his  latest  biog- 
rapher, unhesitatingly  gives  the  work  to  Luini.  It  is  the  original  of  the 
well-known  painting  called  ‘La  Columbina,’  or  ‘Flora,’  or  ‘Vanity,’  which 
in  1649  was  in  the  collection  of  Marie  de  Medicis,  and  after  passing  through 
various  hands,  was  acquired  in  1850  by  the  Hermitage  Gallery,  for  the  sum 
of  40,000  florins.  Three  ancient  copies  of  the  picture  are  in  private  collec- 
tions in  England. 

‘La  Columbina’  represents  a young  woman,  probably  some  Milanese 
beauty,  idealized  after  the  Leonardesque  fashion,  dressed  in  a white  gown 
embroidered  in  yellow,  and  with  a blue  mantle  thrown  over  one  shoulder. 
In  her  lap  are  white  jasmines,  and  in  her  left  hand  she  holds  the  spray  of 
columbine  that  gives  the  picture  its  title.  “The  face  is  thoroughly  Luini’s,” 
writes  Dr.  Williamson,  “and  resembles  his  Madonna  faces,  especially  about 
the  eves.  The  posture  of  the  hand  holding  the  columbine  so  daintily  is  very 
characteristic,  and  Luini  loved  to  express  feeling,  as  is  done  in  this  case,  by 
pose  and  gesture.  The  hands  themselves  and  their  wrists  are  very  Luinesque, 
the  parting  of  the  hair,  the  dress,  the  falling  of  the  draperies,  and  the  gath- 
ered-up  flowers  in  the  lap  all  bespeak  the  same  hand,  but  the  flowers  and  fern 
in  the  background  appear  to  have  been  added  by  another.” 

‘ADORATION  OF  THE  MAGI’  PLATE  VIII 

IN  the  pilgrimage  church  of  Saronno,  II  Santuario  della  Vergine,  as  it  is 
called,  Luini  painted  a series  of  frescos  representing  incidents  from  the 
life  of  the  Virgin.  The  fourth  in  this  series,  the  ‘Adoration  of  the  Magi,’  is 
here  reproduced. 

The  subject  was  a popular  one  with  the  Milanese  because  of  a tradition 
that  an  archbishop  of  their  city,  St.  Eustorgius,  who  lived  in  the  fourth  cen- 
tury, had  brought  to  Milan  the  bodies  of  the  three  kings  who  had  journeyed 
to  Bethlehem  to  worship  the  new-born  Christ,  and  deposited  the  precious 
relics  in  a large  sarcophagus  in  the  church,  which  still  bears  the  archbishop’s 
name.  After  many  years,  however,  when  Milan  was  captured  by  Frederick 
Barbarossa,  in  1 162,  the  bones  of  the  three  kings  were  carried  off  by  the 
conqueror  and  enshrined  in  the  city  of  Cologne,  but  the  Church  of  St.  Eus- 
torgius, in  Milan,  where  they  had  reposed  for  centuries,  was  still  regarded 
as  a holy  spot,  and  continued  to  be  the  favorite  shrine  of  the  faithful. 

Luini  painted  the  subject  of  the  ‘Adoration  of  the  Magi’  again  and  again, 
and  never  more  successfully  than  in  the  pilgrimage  church  of  Saronno.  He 
has  observed  the  traditional  ordering  of  the  subject.  The  scene  is  laid  out-of- 


25ernari)tno  3tuinx 


37 


doors.  The  Virgin,  young  and  beautiful  with  a beauty  as  far  removed  from 
the  slender  and  somewhat  angular  type  of  the  fifteenth-century  masters  as 
from  the  massive  figures  already  coming  into  vogue  in  the  Roman  school,  is 
clad  in  a pale  blue  mantle  and  pink  robe.  Seated  in  front  of  a ruined  stable, 
she  presents  the  Holy  Child  to  the  three  strange  kings  who  have  come  from 
afar  to  worship  him.  One  of  these,  an  old  man  with  a long  white  beard, 
kneels  before  the  Mother  and  Child  with  clasped  hands,  the  folds  of  his 
orange-colored  mantle  falling  about  him.  The  second  king,  cap  in  one 
hand  and  golden  chalice  in  the  other,  kneels  on  the  left  of  the  Virgin,  and 
the  third,  a Moor,  richly  dressed  and  wearing  a gold  crown  upon  his  white 
turban,  is  at  the  right.  St.  Joseph,  his  hand  uplifted  in  thanksgiving,  stands 
near;  various  attendants  of  the  kings  are  grouped  around;  and  in  the  distance 
a long  train  of  riders  leading  camels  and  a giraffe  slowly  descends  the  road 
that  winds  among  the  hills.  The  star  of  the  east  is  in  mid-air,  and  in  the 
clouds  above  is  a choir  of  five  little  angels  singing  the  “Gloria  in  Excelsis” 
from  a scroll  held  in  their  hands. 

“This  version  of  the  oft-repeated  subject,”  writes  Julia  Cartwright,  “is 
remarkable  alike  for  the  freshness  and  originality  of  the  conception  and  for 
the  brilliancy  of  the  execution.  It  unites  the  splendor  and  festive  gaiety  of 
the  Renaissance  with  that  tender  and  reverent  feeling  that  marks  all  Luini’s 
works.” 

‘MADONNA  AND  CHILD’  PLATE  IX 

THIS  picture,  which,  it  is  said,  Luini  painted  for  a convent  of  nuns,  is 
now  in  the  Layard  Collection,  Venice.  It  is  a beautiful  example  of 
that  art  defined  by  Mr.  Selwyn  Brinton  as  “not  reflective,  nor  introspective, 
nor  subtly  intellectual,  as  was  that  of  Leonardo,  but  sweet,  open,  steeped  in 
the  sense  of  beauty,  deeply  devotional,  and  always  entirely  fascinating.” 
The  Child,  clad  in  a little  embroidered  tunic,  stands  on  a parapet  holding 
an  apple  in  one  hand,  while  the  other  arm  is  around  the  neck  of  his  mother, 
who,  with  her  right  arm  placed  protectingly  about  him,  gazes  at  him  with  a 
look  in  which  is  seen  that  presentiment  of  coming  sorrow  which  the  artist  so 
often  expressed  in  the  faces  of  his  Madonnas. 

This  picture,  and  one  similar  to  it  in  the  Louvre,  contain  almost  the  only 
representations  of  the  Madonna  by  Luini  in  which  the  eyes  are  fully  seen. 
Usually  he  painted  her  with  lowered  eyelids,  and  frequently  with  a veil  cov- 
ering a portion  of  her  forehead. 

‘THE  BURIAL  OF  ST.  CATHERINE’  PLATE  X 

“AND  when  St.  Catherine  was  dead,”  says  the  legend,  “angels  came  and 
l\.  took  her  body,  and  carried  it  over  the  desert,  and  over  the  Red  Sea, 
till  they  deposited  it  on  the  summit  of  Mt.  Sinai.  There  it  rested  in  a mar- 
ble sarcophagus.”  It  is  this  scene  which  is  represented  in  this  early  fresco  by 
Luini,  painted  originally  for  the  Casa  Pelucca,  near  Monza,  and  now  in  the 
Brera  Gallery,  Milan.  The  fresco  was  executed,  so  the  story  goes,  while 


38 


4R  a £ t c r $ in  & r t 

Luini  was  living  at  the  Casa  Pelucca,  whither  (as  is  related  in  the  foregoing 
life)  he  had  fled  for  protection  when  charged  with  having  caused  the  death  of 
a priest  who  had  fallen  from  a scaffold  where  the  painter  was  at  work.  It 
was  during  this  sojourn  that  Luini  fell  in  love  with  Laura  Pelucca;  and  tra- 
dition has  it  that  the  St.  Catherine  of  the  fresco  bears  her  likeness. 

Exquisitely  perfect  in  design,  sentiment,  and  workmanship,  Luini  never 
exceeded  the  mystic  beauty  of  this  decorative  fresco.  The  colors  of  the  dra- 
peries are  green,  red,  yellow,  and  brownish-purple,  shaded  with  darker  hues 
of  the  same  tints.  The  angel  in  the  center  has  fair  hair,  the  others  auburn, 
bound  in  each  case  with  gold  fillets.  Gold  is  also  introduced  in  the  nimbuses 
and  borders  of  the  robes. 

“Luini  not  only  knew  how  to  create  the  most  poetic  figures,”  writes 
Eugene  Muntz,  “but  excelled  also,  as  in  ‘The  Burial  of  St.  Catherine,’  in 
the  invention  of  themes  as  picturesque  as  they  were  original.  In  the  lower 
part  of  this  fresco  is  the  sarcophagus,  adorned  with  bas-reliefs  representing 
mermaids,  and  inscribed  with  the  letters  ‘c.  v.  s.  x.’  — Caterina  Firgo  Sponsa 
Christi.  In  the  air  are  three  angels  who  bear  with  tender  care  the  body  of 
the  young  saint,  chastely  wrapped  in  its  long  draperies.  The  plastic  sim- 
plicity of  this  group,  its  harmony,  its  rhythm,  defy  all  analysis,  and  class 
Luini  in  the  first  rank  of  Italian  painters.  I do  not  hesitate  to  say  that  Leo- 
nardo himself  could  not  have  given  to  one  of  his  compositions  such  clear- 
ness, such  grace  of  outline,  and  so  decorative  an  arrangement.” 

Rio  says  of  this  work:  “It  is  a truly  heavenly  inspiration,  and  may  be 
compared  with  the  most  perfect  productions  of  mystic  art  in  Tuscany  and 
Umbria.  I doubt  if  even  the  beatific  painter  of  Fiesole,  Fra  Angelico,  through 
the  prism  of  his  celestial  visions,  ever  dreamed  of  a figure  more  lovely  than 
that  of  St.  Catherine  borne  by  angels  to  her  tomb  on  Mt.  Sinai.” 

A LIST  OF  THE  PRINCIPAL  PAINTINGS  BY  LUINI  WITH 
THEIR  PRESENT  LOCATIONS 

AUSTRIA.  Budapest  Gallery:  Holy  Family;  Madonna  and  Child  — Vienna,  Im- 
..  perial  Gallery:  The  Daughter  of  Herodias  (Plate  vi)  — Vienna,  Czernin  Gal- 
lery: Madonna  and  Child  — ENGLAND.  Ashridge  Park,  Earl  Brownlow’s  Col- 
lection: Madonna  with  Saints  and  Donor  (fresco)  — Brighton,  Collection  of  the 
Misses  Cohen:  Head  of  Christ  — Knutsford,  Collection  of  Colonel  A.  Cornwall 
Legh:  Marriage  of  St.  Catherine — London,  National  Gallery:  Christ  Disputing  with 
the  Doctors — London,  South  Kensington  Museum:  Two  figures  of  Saints  (fresco); 
The  Ascension  (fresco)  — London,  Wallace  Collection  : Madonna  and  Child  (bis)-,  A 
Child-genius  holding  Grapes  (fresco) — London,  Collection  of  Dr.  Abercrombie: 
Five  frescos  — London,  Collection  of  R.  H.  Benson,  Esg:  Portrait  of  a Lady  (Plate 
II);  The  Nativity;  Three  Panels  of  a Predella  — London,  Dorchester  House:  ‘La 
Columbina’  — London,  Sir  William  Farrer's  Collection:  Three  Angels  — London, 
Hyde  Park  House:  Madonna,  Child,  and  Saints  — London,  Lansdowne  House:  Lady 
with  a Vase  — London,  Collection  of  Ludwig  Mond,  Esq:  Madonna,  Child,  and  St. 
John;  St.  Catherine  of  Alexandria  and  Angels;  Venus — Maidenhead,  Collection  of 
W.  H.  Grenfell,  Esq:  Holy  Family — Peterborough,  Countess  of  Caryfort’s  Col- 
lection: Boy  with  a Toy  — Richmond,  Sir  Francis  Cook’s  Collection:  Madonna 
with  St.  George  — Stratton  Park,  Earl  of  Northbrook’s  Collection:  Madonna 
— FRANCE.  Chantilly,  Conde  Museum:  Infant  Christ;  Two  Heads  (frescos) — 


25  t r n a r D i n o 31  u i n x 


39 


Paris,  Louvre:  Holy  Family;  Infant  Jesus  Asleep;  The  Daughter  of  Herodias;  Vulcan’s 
Forge  (fresco);  The  Nativity  (fresco);  Adoration  of  the  Magi  (fresco);  Annunciation 
(fresco);  Christ  (fresco);  Child  seated  (fresco);  Child  kneeling  (fresco);  Head  of  a Girl 
(fresco)  — Paris,  Collection  of  Signor  E.  Cernuschi:  Fragments  of  frescos  from  Casa 
Pelucca  — Paris,  Collection  of  Monsieur  de  Reizel:  Infant  Christ  — Paris,  Collec- 
tion of  Baron  Edmond  de  Rothschild:  Martha  and  Mary  Magdalene — Paris,  Baron 
Alphonse  de  Rothschild’s  Collection:  Madonna  and  Child — GERMANY.  Berlin 
Gallery:  Madonna  and  Child — ITALY.  Bergamo,  Lochis  Collection:  The  Nativ- 
ity— Bergamo,  Morelli  Collection-.  Madonna,  Child,  and  St.  John  — Como,  Cathe- 
dral: The  Nativity;  Adoration  of  the  Magi;  Madonna  and  Saints;  St.  Sebastian;  St.  Chris- 
topher— Florence,  Pitti  Palace:  Magdalene;  St.  Catherine;  Woman's  Head  — Flor- 
ence, Uffizi  Gallery:  Holy  Family;  Beheading  of  John  the  Baptist;  The  Daughter  of 
Herodias — Legnano,  Church  of  San  Magno:  Altar-piece  of  Madonna  and  Saints  — Lu- 
ino.  Church  of  San  Pietro:  Adoration  of the  Magi  (fresco);  St.  Peter  (fresco)  — Milan, 
Brera  Gallery:  Virgin,  Child,  and  St.  John  with  a Lamb  (fresco);  St.  Joseph  and  the  Vir- 
gin (fresco);  Child  crowned  with  Laurel  (fresco);  Girls  playing  at  Forfeits  (fresco);  Young 
Woman  (fresco);  Two  Jesters  (fresco);  Flying  Angel  (fresco);  Head  of  a Woman  (fresco); 
St.  Joseph  chosen  as  the  Spouse  of  the  Virgin  (fresco);  The  Redeemer  (fresco);  The  Resur- 
rection (fresco);  St.  Ursula  (fresco);  Angels  Playing  the  Timbrel  (fresco);  St.  Thomas 
Aquinas  (fresco);  The  Visitation  (fresco);  Presentation  of  the  Virgin  (fresco);  Apollo  and 
Daphne  (fresco);  Habakkuk  and  the  Angel  (fresco);  Two  Angels  in  Adoration  (frescos); 
Two  Heads  of  Men  (frescos);  Virgin  and  Saints  (fresco);  Birth  of  the  Virgin  (fresco);  God 
the  Father  (freseo);  Meeting  of  Joachim  and  Anna  (fresco);  Burial  of  St.  Catherine  (fresco) 
(Plate  x);  Angel  with  Incense-boat  (fresco);  St.  Marcella  (fresco);  Sacrifice  to  Pan  (fresco); 
Education  of  the  Virgin  (fresco);  St.  Martha  (fresco);  Angel  with  Censer  (fresco);  Presen- 
tation of  the  Virgin  (fresco);  Israelites  leaving  Egypt  (fresco);  Dream  of  St.  Joseph  (fresco); 
Madonna,  Child,  and  Saints  (fresco);  Madonna,  Child,  and  St.  Anne  (fresco);  Birth  of 
Adonis  (fresco);  Noah  derided  by  Ham;  Madonna  of  the  Rose-hedge  (Plate  i);  Madonna 
and  Child  — Milan,  Ambrosian  Library:  The  Crowning  with  Thorns  (fresco);  Holy 
Family;  Christ  in  Benediction;  John  the  Baptist  with  a Lamb  — Milan,  Museo  Borro- 
meo:  The  Chaste  Susanna;  Madonna;  Madonna  and  Saints;  The  Daughter  of  Herodias  — 
Milan,  Palazzo  Reale:  Fifteen  frescos  from  Casa  Pelucca  — Milan,  Church  of  San 
Maurizio:  [altar-screen]  Figures  of  Saints,  Kneeling  Donors,  Assumption  of  the  Vir- 
gin, King  Sigismond  presenting  the  Church  to  St.  Maurice,  Martyrdom  of  St.  Maurice 
(frescos);  [chapel]  Christ  bound  to  the  Column  (fresco);  [nun’s  choir]  Scenes  from 
the  Life  of  Christ  (frescos);  St.  Apollonia,  St.  Lucy,  St.  Catherine,  St.  Agnes,  St.  Sebas- 
tian, St.  Roch  (frescos)  — Milan,  Church  of  Santa  Maria  delle  Grazie:  Madonna, 
Saints,  and  Donor  (fresco)  — Milan,  Church  of  San  Giorgio  al  Palazzo-.  Entomb- 
ment and  Crowning  with  Thorns,  Scourging  and  Ecce  Homo,  Crucifixion  (frescos)  — 
Milan,  Poldi  Pezzoli  Museum:  Marriage  of  St.  Catherine;  Tobit  and  the  Angel;  St. 
Jerome;  Adoration  of  the  Christ-child  — Milan,  Palazzo  Scotti:  Madonna  and  Saints 
— Monza,  Cathedral:  St.  Gerard  — Naples  Museum:  Madonna  and  Child;  John  the 
Baptist — Pavia,  Certosa:  Madonna  and  Child  (fresco);  St.  Sebastian  and  St.  Christopher 
(fresco)  — Ponte  in  the  Valtellina, Church:  St.  Mary  and  St. Martin  (fresco)  — Rome, 
Albani  Palace:  Madonna  and  Child  — Saronno,  Santuario  della  Vergine:  Marriage 
of  the  Virgin  (fresco);  Christ  disputing  with  the  Doctors  (fresco);  Adoration  of  the  Magi 
(fresco)  (Plate  vm);  The  Nativity  (fresco);  St.  Apollonia,  St.  Catherine,  St.  Roch,  and 
St.  Sebastian  (frescos)  — Venice,  Layard  Collection:  Madonna  and  Child  (Plate  ix)  — 
RUSSIA.  St.  Petersburg,  Hermitage  Gallery:  St.  Catherine  and  Two  Angels 
(Plate iv);  St.  Sebastian;  ‘La  Columbina’  (Plate  vii)  — SCOTLAND.  Duns,  Langton 
House:  The  Annunciation  — SPAIN.  Madrid,  The  Prado:  Holy  Family  (fresco) 
(Plate  in);  The  Daughter  of  Herodias;  The  Christ-child  and  St.  John  (fresco)  — SWIT- 
ZERLAND. Lugano,  Church  of  Santa  Maria  degli  Angeli:  The  Crucifixion 
(fresco)  (see  Plate  v);  St.  Sebastian  and  St.  Roch  (frescos);  The  Last  Supper;  Madonna, 
Child,  and  St.  John  — WALES.  Cardiff,  Lord  Windsor’s  Collection:  The  Na- 
tivity. 


40 


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Htttnt  33tbltograpJ)j> 

A LIST  OF  THE  PRINCIPAL  BOOKS  AND  MAGAZINE  ARTICLES 
DEALING  WITH  LUINI 

ALEXANDRE,  A.  Histoire  populaire  de  la  peinture.  (Paris,  1894)  — Blanc,  C.  His- 
IX.  toire  des  peintres  de  toutes  les  ecoles:  ecole  italienne.  (Paris,  1876)  — Brinton,  S. 
The  Renaissance  in  Italian  Art.  (London,  1900)  — Brun,  C.  ‘Bernardino  Luini  ’ in 
Dohme’s  Kunst  und  Kiinstler,  etc.  (Leipsic,  1879)  — Burckhardt,  J.  Der  Cicerone, 
edited  by  Bode.  (Leipsic,  1898)  — Cartwright,  J.  Christ  and  His  Mother  in  Italian  Art. 
(London,  1897) — Coindet,  J.  Histoire  de  la  peinture  en  Italie.  (Paris, 1861)  — Crowe, 
J.  A.,  AND  Cavalcaselle,  G.  B.  History  of  Painting  in  North  Italy.  (London,  1871) 

— Eastlake,  C.  L.  The  Brera  Gallery.  London,  1883. — Frizzoni,  G.  Arte  italiana 

del  rinascimento.  (Milan,  1891)  — Kugler,  F.  T.  Italian  Schools  of  Painting.  Revised 
by  A.  H.  Layard.  (London,  1900)  — Kuhn,  P.  A.  Allgemeine  Kunst-Geschichte. 
(Einsiedeln,  1891  seq.) — Lafenestre,  G.  Maitres  anciens.  (Paris,  1 88a).  — Lanzi,  L. 

The  History  of  Painting  in  Italy:  Trans,  by  T.  Roscoe.  (London,  1828) — Lomazzo, 
G.  P.  Trattato  dell’  arte  della  pittura,  scultura,  ed  architettura.  (Rome,  1844)  — Mes- 
nard,  L.  Trois  etudes  sur  l’art  chretien.  (Grenoble,  1875) — Mongeri,  G.  L’arte  in 
Milan.  (Milan, 1872)  — Morelli.G.  Italian  Masters  in  German  Galleries:  Trans,  by  Lou- 
ise M.  Richter.  (London,  1 883)  — Morelli,  G.  Italian  Painters:  Trans.  byC.  J.  Ffoulkes. 
(London,  1892—93) — Muntz,  E.  Histoire  de  Part  pendant  la  Renaissance.  (Paris,  1895) 

— Rio,  A.  F.  De  Part  chretien.  (Paris,  1861).  Leonard  de  Vinci  et  son  ecole.  (Paris, 
1 855)  — Ruskin,  J.  Queen  of  the  Air.  (London,  1869)  — Stillman,  W.  J.  Old  Italian 
Masters.  (New  York,  1892)  — Symonds,  J.  A.  Renaissance  in  Italy.  (London,  1897) 

— Thausing,  M.  Wiener  Kunstbriefe.  (Leipsic,  1884)  — Vasari,  G.  Le  Vite  dei  piu 
eccellenti  pittori.  (Florence,  1568)  — Venturi,  A.  La  Madonna.  (Milan,  1900)  — 
Williamson,  G.  C.  Bernardino  Luini.  (London,  1 899) — Woltmann,  A.,  and  Woer- 
mann,  K.  History  of  Painting:  Trans,  by  Clara  Bell.  (New  York,  1895). 

MAGAZINE  ARTICLES 

ARCHIVIO  STORICO  DELL’ ARTE,  1890:  II  Museo  Borromeo  in  Milano  (G.Friz- 
. zoni).  1895:  Bernardino  Luini  e la  Pelucca  (Luca  Beltrami)  — Archivio  Storico 
Lombardo,  1876:  Postille  (G.  Mongeri) — Arte,  1900:  I quadri  di  scuola  italiana  nella 
Galleria  Nazionale  di  Budapest  (A.  Venturi)  — Art  Journal,  1901 : The  Wallace  Col- 
lection, the  Italian  Pictures  (C.  Phillips)  — Gazette  des  Beaux-Arts,  1869  and  1870: 
Bernardino  Luini  (Georges  Lafenestre).  1898:  Exposition  de  maitres  de  l’ecole  lombarde 
(G.  Frizzoni).  1899  and  1900:  Notes  sur  Bernardino  Luini  (P.  Gauthiez)  — Magazine 
of  Art,  1883:  The  Lugano  Frescoes  (C.  Duncan).  1900:  Gems  of  the  Wallace  Collec- 
tion (M.  H.  Spielmann).  1901:  Triptych  by  Luini  at  Legnano  (G.  C.  Williamson)  — 
Portfolio,  1886:  Lugano,  Luino,  and  the  Painter  Bernardino -Luini  (J.  Beavington- 
Atkinson)  — Universal  Review,  1890:  The  Painter  Bernardino  Luini  (F.  W.  Farrar) 
— Zeitschrift  fur  bildende  Kunst,  1878:  Die  Fresken  Luini’s  in  S.  Maurizio  zu 
Mailand  (C.  Brun).  1879:  Luini’s  Passion  in  S.  Maria  degli  Angeli  zu  Lugano  (C.  Brun). 
1898-9:  Ausstellung  von  Gemalden  der  lombardischen  Schule  in  London  (G.  Pauli). 


MASTERS  IN  ART 


Jibe  dalbvvcll  (Sallerics 


\ VISITORS  to  Philadelphia  are  invited  to  examine  an 
^ important  collection  of  high-class  paintings  by  prom- 
inent modern  masters  of  the  various  Continental  Schools. 

Now  on  Exhibition  Daily  from 
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The  Christmas 
Century 

TMIK  Christmas  number  of  The  Century  Magazine  is  such  a 
^ splendid,  all  around  Holiday  issue  that  one  could  take  a great 
amount  of  space  in  detailing  the  contents, — more  than  you  would 
read.  Here,  however,  are 

Three  Important  features 

( Only  three  out  of  many ) 

( 1 ) “ Che  Hlgh-GHatcr  JMarh  of  Color  Reproduction  ” 

Howard  Pyle’s  superb  paintings,  illustrating  “The  Travels  ot 
the  Soul.”  This  is  what  Mr.  Pyle  wrote  to  The  Century  Co. 
when  he  saw  the  proofs: 

“I  wish  to  express  to  you  my  great  and  sincere  admiration  for  the 
way  in  which  you  have  reproduced  my  pictures.  I had  never  hoped  to 
have  such  really  great  results.  ...  It  appears  to  me  that  if  you  print 
the  magazine  at  all  like  the  proofs,  you  will  have  reached  the  high-water 
mark  of  color  reproduction.  Very  sincerely  yours, 

(Signed)  Howard  Pyle.” 

And  there  are  other  color-pictures  in  the  number,  with  beautiful 
illustrations  in  black  and  white. 

(2)  first  Chapters  of  a JScw  Story  by  the  Hutbor  of 
“ JMrs.  CCllggs  of  the  Cabbage  patch  ” 

For  seven  consecutive  months  one  of  the  six  most  popular  books 
in  the  United  States  has  been  “ Mrs.  Wiggs,” — and  with  reason, 
for  it  is  a book  that  does  the  reader  good, — you  go  and  get  halt 
a dozen  copies  and  send  them  to  your  friends.  “ Lovey  Mary,” 
Miss  Hegan’s  new  story,  has  all  the  charm  of  “ Mrs.  Wiggs,”  and 
that  lady  herself  is  one  of  the  characters.  It  begins  in  this  num- 
ber and  will  continue  for  four  months. 

(3)  H JVIost  enlightening  Hrtlclc  on 
Che  United  States  Steel  Corporation 

Not  by  way  of  attack  or  defense,  but  just  a fair,  truthful  account 
of  how  and  why  this  great  so-called  Trust  was  organized,  and  how 
it  carries  on  its  business.  Written  by  Henry  Loomis  Nelson,  and 
one  of  an  important  series  which  The  Century  is  printing  on  the 
different  so-called  Trusts. 

These  three  features  alone  are 
enough  to  sell  the  Christmas  Century. 

Q, iLiirtiik.-vi'.  » ho  begin  their  vearlv  subscription  with  this  Christmas 
J>CW  OUDSCriDCrS  numberBwill  recei-ve  th-e  November  number  free  of  charge, 
and  so  begin  the  volume  and  all  the  serials.  Price  $4.00. 

"Che  Century  Co.,  anion  Square,  JVcw  York 


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Cbc  (lenturv  Co. 


Zhc  Xatcst  Books 

ant>  a few  Standard  Gift  JBoofcs 

ART. 

Old  English  Masters.  Engravings  by  Timothy 
Cole. 

English  Cathedrals.  Text  by  Mrs.  Van  Rens- 
selaer, illustrated  by  Pennell. 

BIOGRAPHY. 

Abraham  Lincoln.  A new,  short  life,  condensed 
from  Nicolay  and  Hay's  history. 

Daniel  Webster.  By  John  Bach  McMaster. 
Memories  of  a Musical  Life.  By  William  Mason. 
Recollections  of  a Player.  By  James  H.  Stoddart. 

FICTION. 

Mrs.  Wiggs  of  the  Cabbage  Patch.  That  great 
success. 

Confessions  of  a Wife.  By  “ Mary  Adams.” 
Aladdin  O'Brien.  By  Gouvemeur  Morris. 
Barnaby  Lee.  By  John  Bennett. 

Napoleon  Jackson.  By  Mrs.  Ruth  McEnery 
Stuart. 

CLASSICS. 

The  Century  Classics.  New  issues : Essays  of 
Elia,  A Sentimental  Journey. 

The  Thumb-Nail  Series.  New  issues:  In  Memo- 
riam,  The  Rivals,  Thoughts  of  Pascal. 

Special  circulars  on  request. 

HISTORY. 

The  Story  of  Athens.  By  Howard  Crosby  Butler. 
The  East  of  To-day  and  To-morrow.  By  He  nr) 
C.  Potter,  D.  D. 

BY  PRESIDENT  ROOSEVELT. 

Ranch  Life  and  the  Hunting  Trail. 

The  Strenuous  Life. 

Hero  Tales  from  American  History. 

NATURE  BOOKS. 

Caterpillars  and  their  Moths. 

Wild  Life  Near  Home. 

FOR  THE  HOME. 

Luncheons.  Supplementing  "The  Century  Cook 
Book.” 

The  Century  Cook  Book. 

The  Century  Book  for  Mothers. 

FOR  BOYS  AND  GIRLS. 

The  Bible  for  Children.  (Send  for  special  cir- 
cular.) 

The  New  St.  Nicholas  Books  : Sir  Marrok.  The 
Cruise  of  the  Dazzler,  The  Boy  and  the  Baron. 
The  Boysofthe  Rincon  Ranch, Tommy  Reming- 
ton's Battle,  and  Eight  Girls  and  a Dog. 

Topsvs  and  Turvys.  Peter  Newell's  new  book 
of  verse  and  pictures. 

The  Wyndham  Girls.  By  Marion  Ames  Taggart. 
Bound  Volumes  of  St.  Nicholas. 

Andersen's  Fairy  Tales.  Superbly  illustrated. 
Master  Skylark.  By  John  Bennett. 

Lady  Jane.  A children’s  classic. 

Kipling's  "Jungle  Books.” 

A New  Baby  World. 

The  Biography  of  a Grizzly.  Etc.,  etc. 


1b a 8 veab\>  for 
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a large  number  of  books 
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logue that  is  worth 
owning  in  itself.  And 
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MASTERS  IN  ART 


“IT  HAS  TAUGHT  ME  ALL  THAT  A TEACHfcR  COULD  HAVE  TAUGHT  — HOW 
TO  BEGIN  RIGHT,  HOW  TO  AVOID  DIFFICULTIES,  AND  THE 
‘TRICKS  OF  THE  TRADE.’” 

^en  Braxutng 

CHARLES  D.  MAGINNIS 

practice  will  make  an  accomplished  pen- 
m draughtsman  ; but  this  little  treatise  teaches 

whatever  can  be  taught  of  the  art ; namely, 
how  to  practice,  what  “style”  is,  and  how  to 
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ues and  colors,  how  to  depict  and  treat  details, — in  a 
word,  imparts  a knowledge  of  all  the  ways,  means,  and 
processes  that  experience  has  proved  useful.  The  key- 
note of  the  book  is  practicality.  Each  of  the  72  illus- 
trations is  a specific  example  of  some  important 
method.  It  is  written  interestingly  and  clearly.  With 
this  treatise  at  his  elbow  the  draughtsman  can  make 
most  valuable  use  of  his  spare  minutes. 

Price,  $1.00,  Postpaid 

1 

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TRATIONS, IS  PRINTED  ON  HEAVY  PAPER  AND  BOUND  IN  GRAY  CLOTH. 

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THE  READERS  of  “MASTERS  IN  ART”  are  an  ART-LOVING  PEOPLE;  they 
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Sculpture,  Painting,  Ceramics,  Metal,  Glass,  Furniture,  Decoration,  Design,  Bookbinding,  Illus- 
trating, Photography,  Lithography,  Enamel,  Jewelry,  Needlework,  Gardening,  etc.  The  principal 
writers  on  Art  are  contributors  to  its  pages.  Many  original  illustrations,  reproduced  in  every  variety  of 
black-and-white  process,  half-tone,  line,  photogravure,  etc.,  are  to  be  found  in  each  number.  Color- 
plates  of  real  value  are  to  be  found  in  every  issue.  No  magazine  can  boast  a more  artistic  and  sumptuous  I 
get-up  than  “The  International  Studio.” 

C.  Every  one  interested  in  Art,  professionally  or  otherwise,  should  read  it ; for  the  magazine  keeps  its 
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THE  HOUSE  BEAUTIFUL  is  a magazine  that  deals  particularly  with  household 
art  and  the  various  domestic  needs  and  delights. 

THE  HOUSE 
BEAUTIFUL 

is  a necessary  guide  and  reference  to  every  lover  of  home.  It  shows  you  how  to  make 
it  attractive  and  keep  it  so. 

THE  HOUSE  BEAUTIFUL  tells  you  how  to 
build  artistic  homes  at  little  expense,  how  to  make 
an  old  house  into  a new  and  harmonious  dwelling, 
and  how  to  keep  it  fresh  and  inviting. 

THE  HOUSE  BEAUTIFUL  tells  all  about  gar- 
dening and  flowers,  and  takes  up  the  subject  of  pot- 
tery, as  made  by  all  nations,  modern  and  ancient. 

THE  HOUSE  BEAUTIFUL  shows  you  howto 
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to  furnish  it  in  the  most  appropriate  manner. 

FROM  PARLOR  TO  KITCHEN  and  FROM 
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and  the  helpful  talks  and  suggestions  are  fascina- 
ting to  read  over. 

THE  HOUSE  BEAUTIFUL  treats  of  the  old 
masters  and  their  works,  showing  many  beautiful 
illustrations. 

Beginning  with  the  December  number,  we  are  go- 
ing to  run  a series  of  art  supplements,  bound  in 
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traiture from  the  time  of  his  introduction  to  Sir  Thomas  More,  1526,  until  his  death 
in  1543. 

The  Drawings  are  in  color,  and  to  obtain  them  in  this  way  is  a rare  opportunity. 

THE  HOUSE  BEAUTIFUL  is  never  out  of  date,  and  when  bound  it  becomes  a 
cyclopaedia  of  household  importance. 

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Subscriptions  sent  to  us  beginning  with  the  December  number  will  receive  thirteen  is- 
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lllasttrsmflrt 

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A PARTIAL  LIST  OF  THE  ARTISTS  TO  BE 
CONSIDERED  IN  ‘MASTERS  IN  ART’  DUR- 
ING THE  FORTHCOMING,  1903,  VOLUME 
WILL  BE  FOUND  ON  ANOTHER  PAGE  OF 
THIS  ISSUE.  THE  1903  VOLUME  WILL 
BEGIN  WITH 

PART  37,  THE  ISSUE  FOR 

Sanitary 

WHICH  WILL  TREAT  OF 

ilomucj) 


NUMBERS  ISSUED  IN  PREVIOUS  VOLUMES 
OF  ‘MASTERS  IN  ART’ 


mi  i 

Part  I.— VAN  DYCK 
Part  z.— TITIAN 
Part  VELASQUEZ 
Part  4.— HOLBEIN 
Part  5.— BOTTICELLI 
Part  6.— REMBRANDT 
Part  7.— REYNOLDS 
Part  8.— MILLET 
Part  9.— GIO.  BELLINI 
Part  10.— MURILLO 
Part  11. — HALS 
Part  iz.— RAPHAEL 

•Sculpture 


mi  11 

Part  ij. — P.UBENS 
Part  14.— DA  VINCI 
Part  15.— DURER 
Part  16. — MICHELANGELO* 
Part  17. — MICHELANGELOf 
Part  18.— COROT 
Part  19.— BURNE-JONES 
Part  zo.— TER  BORCH 
Part  zi.— DELLA  ROBBIA 
Part  zz.— DEL  SARTO 
Part  zj.— GAINSBOROUGH 
Part  Z4.— CORREGGIO 
f Painting 


mi  m 

Part  zj.— PHIDIAS  Part  31.— PAUL  POTT 

Part  z6.—  PERUG1NO  Part  jz.— GIOTTO 

Part  Z7.— HOLBEIN  \ Part  jj.— PR AXITELI 

Part  z8.— TINTORETTO  Part  54— HOGARTH 

Part  v).—  PIETER  dh  HOOCH  Part  55  — TURNER 


Part  50.— NATTIER 


\ Drawings 


Part  j6.— LU1NI 


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The  fifteen  paintings  comprising  Edwin  A.  Abbey’s  C 
J famous  frieze  in  the  Boston  Public  Library  are  bcauti-  J 
jr  fully  reproduced  in  a new  book  on  The  Quest  Of  the 

‘ Holy  Gracil‘ 

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and  Dresden  Galleries 
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XVIII  Century,  from  the  Collection 
of  the  German  Emperor 
The  Holbeins  and  Durers  in  the  Berlin 
Gallery 

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FAMOUS  FAMILIES  OF  NEW  YORK 

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THE  AMERICAN  IMMORTALS 

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THE  HUDSON  RIVER  FROM  OCEAN  TO  SOURCE 

By  E.  M.  Bacon.  With  100  illustrations  and  a Sectional  Map  of  the  River 

ROMANCE  OF  THE  COLORADO  RIVER 

By  F.  S.  Dellenbaugh.  Illustrated 

WILLIAM  MORRIS  Poet,  Craftsman,  Socialist 

By  Elisabeth  L.  Cary.  Illustrated.  Net  $3.50 

SONNETS  FROM  THE  PORTUGUESE 

By  E.  B.  Browning.  Decorated  and  illustrated  in  color  by  Margaret  Armstrong.  $2.00 

IDYLLS  OF  THE  KING 

By  Alfred  Tennyson.  With  31  Photogravures  after  Gustav  Dore.  2 Vols.  Each,  £1.75 

SOCIAL  ENGLAND 

By  various  eminent  writers.  King  Edward  Edition.  6 Vols.  (Vol.  III.  nearly  ready).  Illustrated 

STUDIES  OF  A BIOGRAPHER 

By  Leslie  Stephen.  New  series.  2 Vols.  Net  $4.00 

ENGLISH  THOUGHT  IN  THE  XVIII.  CENTURY 

By  Leslie  Stephen.  3d  Edition,  Revised  and  Enlarged.  2 Vols.  Net  58.oo 

MEMOIRS  OF  CHATEAUBRIAND 

Translated  by  A.  T.  de  Mattos.  6 Vols.  Illustrated.  Each,  net  $ 3.75 

THE  YOUTH  OF  LA  GRANDE  MADEMOISELLE 

By  Arvede  Barine.  Illustrated 

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TWENTY-SIX  HISTORIC  SHIPS 

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A Superb  Art  Publication 


J.  M.  W.  TURNER,  R.  A.  By  Sir  Walter  Armstrong 

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Oust  published 

Letters  & Lettering 

By  Frank  Chouteau  Brown 

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